Katalog Pixxelpoint 2014

Transcription

neumetno
st
NI
N
N OVA
GOR
GOR ICA
ICA
JE
N O N-A R T
2014
Pixxelpoint 2014 – 15. mednarodni festival medijskih umetnosti
Nova Gorica/Gorica, 5.–12. 12. 2014
Pixxelpoint 2014 – 15th International Media Art Festival
Nova Gorica/Gorizia, 5.–12. 12. 2014
Organizacija festivala/Festival organized by: Kulturni dom Nova Gorica
Kurator/Curator: Igor Štromajer
Vodja projekta/Festival manager: Pavla Jarc
Koordinator projekta/Project coordinator: Mateja Poljšak Furlan
Tehnični vodja/Technical director: Tadej Hrovat
Katalog izdal/Catalogue issued by: Kulturni dom Nova Gorica
Zanj/Represented by: Pavla Jarc
Ureditev kataloga/Catalogue edited by: Igor Štromajer
Pregled besedil/Language editing: Mateja Poljšak Furlan
Lektoriranje/Slovene language revision: Denubis, jezikovne rešitve d.o.o.
Prevodi/Translated by: Denubis, jezikovne rešitve d.o.o.
Oblikovanje/Design: BridA/Tom Kerševan, Sendi Mango, Jurij Pavlica
Tisk/Print: Tiskarna Present d.o.o.
Naklada/Number of copies: 500
Nova Gorica, november 2014
CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 7:004.9(084) MEDNARODNI festival medijskih umetnosti (15 ; 2014 ; Nova Gorica /
Gorizia) Neumetnost = Non-art / Pixxelpoint [[tudi] 15. mednarodni festival
medijskih umetnosti, Nova Gorica/Gorica, 5.-12. 12. 2014 = Pixxelpoint [also]
15th International Media Art Festival, Nova Gorica/Gorizia, 5.-12. 12. 2014 ;
ureditev Igor Štromajer ; prevodi Denubis, jezikovne rešitve]. - Nova Gorica :
Kulturni dom, 2014 ISBN 978-961-6783-16-3 1. Gl. stv. nasl. 2. Vzp. stv. nasl. 3. Štromajer, Igor 276762368
ISBN 978-961-6783-16-3
9 789616 783163
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Vabilo – Pixxelpoint 2014 öix°ß.ě’Í7Ő× NEUMETNOST
Invitation – Pixxelpoint 2014 öix°ß.ě’Í7Ő× NON-ART
Andrej Tišma
Anne Elisabeth Tassel, Gašper Mali, Marco Pelos Spaniol,
Miha Oven, Taja Košir Popovič, Žan Anthony Setnikar
Annie Abrahams
Aphra Tesla Operating System Incorporated & Neven M.
Agalma
Barbara Hindahl
bituur esztreym & renata avila
Constant Dullaart
Denis Mavrič
Gretta Louw
Hannes Seidl
Inga Mijatović & Luka Pompe
Inga Mijatović
Intimidad Romero
Irena Pivka & Brane Zorman
Jan Robert Leegte
Janez Janša, Janez Janša, Janez Janša
Jelena Marković
Joško Bohunsky
Karen Eliot
Karl Heinz Jeron
Kitty Taylor
Lavoslava Benčić
Lucille Calmel
Luka Pompe
Luka Prinčič
Michaël Borras A;K.A Systaime
Mindaugas Gapševičius
Pila Rusjan & Dejan Štefančič
Robert Sakrowski
ronnie s
son:DA
Stefan Doepner
Stefan Doepner & Jakob Harisch
UBERMORGEN.COM
Ustvarjalec digitalnih zgodb / Digital Story Creator
Valérie Wolf Gang
Vlado G. Repnik
Zečica Jensen
from: !gor Štromajer
to:
umetnice in umetniki
date: Fri, Jun 13, 2014 at 10:45 AM
subject: Vabilo – Pixxelpoint 2014
öix°ß.ě’Í7Ő× NEUMETNOST
Draga umetnica, dragi umetnik!
ˆBzh91 AY&SY’˙K8 _ ˜¬¦ˆ°•÷˜ ˙˙˙ţ˙˙˙˙˙˙˙˙˙˙˙˙˙ ń›
ěµ Î?ýa” 7Ĺčdˆ …÷Ő÷É ¸ H @HQR =ç U9^ “Ŕ
€ 0”Ń{gśp ĺ^ ˜¬¦ˆ°•÷˜ ůŰr uH7Ó“ íZŕ ú >ú
3 w’)ľű=6h znMÇ }áč H$>ůî6‚ eÇ Obstajata
10 vrsti ljudi: tisti, ki znajo brati binarno
kodo, in tisti, ki je ne znajo. űť Ôxú ”@)@.Ŕ
° “Ęś úy>YV… }Ě˝€ Ůô 3 -- ún( R©O ”ë*P*Š
‚B T” ˜¬¦ˆ°•÷˜ †-X R ˜¬¦ˆ°•÷˜ To ni binarna
koda. To ni umetnost. Kaj ni umetnost? To
ni umetnost. 4¦8ô1Dŕ I Z¨ş°ŐtÎ Ŕ2 v4 P ĄIJ
*ŠTě Í°Bą¦ A Š“C čÔ% ŞR [.Öńn „ % ˜ RI” HE
Ą6Ĺ+GqŽ° ˜¬¦ˆ°•÷˜ b•
×›lëśßwp^ Ů ßc ×Ö÷©÷ Ăč 36Ő€P íŐ¦§]s[)
m}=ăk{›u ˜¬¦ˆ°•÷˜ é–ŁnŘß 3 {ˇóĺö 3 Žw´ů
t{Ĺź4 ˇ@ č3˘€H) P]e †´B Ćťë®I ďw Në “DîŮ
Î2P € Ă@ˇˇ’Š¨îˇ+[ŔĆ 0 ŽŞ …_© Če parafraziram Hardta in Negrija: letošnji festival
naj prikaže najboljši izbor neumetniških del
medijskih umetnikov. 2ô†YC HâA3 ů -- ‰R!h
¨––‚)”˘!i ĆÓI KXµ …\d äPŔt©’¤6Â‘ Kď ń˛ ‚ I \l
”Q,Ať „ ňÉBÜÍ%TD IQNŔ –¦”bbC Repeticija
je neprestano spreminjanje in preseganje
umetniške ter politične tesnobe üś Ô$M
Ö=ě ŢĘS÷…O‚ ^cFoŃŚ îpPÄ I@Rb bĂHh X™b
4¤i$”dw vrhunska imena medijske umetnosti, trenutno najbolj iskane elektronske in
električne umetnike, enakopravno z njimi pa
tudi študente umetnosti Ű ž$ .‰˘ ăóy LJSAT
QI 7Ž –j(“ Sodobna medijska umetnosta je
pisana, izpraznjena, svobodna in brezglavo
napeta.
”ŞŔ¤‚JbĄ ©¸–^m &’‚ŠŞ˘‚bh© ˆš
!¦Ş„©šˇZ(˜¦IH¨” ™” ‚š B˜J `˘¨ €™J˜Ň:JH¨bZ;
¦ ‰ŞJ ‰´hiZ)Á°” PSţÔşż˛a<™ĺÄ ! BL±@ HJJX
# JDFź ?Ł66Š8CĄˆŠ ™”(J ˜ š %¦d(vt4É Ő ‘ w`
% % ’Ä„EC 2 ˛G Najbolj radikalno umetniško
delo, ki ga danes lahko ustvari, sprogramira
ali izvede umetnik, je tisto, ki ga pravzaprav
ne ustvari, ne stori. Se pravi, da zavestno,
aktivno ne stori umetnosti, da jo pusti ujeto
v svoji potencialnosti, da jo takorekoč opusti.
Zato lahko na letošnjem festivalu vidimo
najlepše in najradikalnejše primere t.i.
opustitvene umetnosti. N€)Zhˆ”- &I†(‘’ ŕŽĹU
!T¤AJGŮLš ((˘€† ¨ ës¤ ” ”%âHŠJ©Ć JŇ±)AA
E QIDŐ 5HPE M UYcMLŐC $IDÄB DÓM Q EE
Tisto, kar kot kurator letošnjega Pixxelpointa
iščem pri umetnicah in umetnikih, je odsotnost umetnosti. In nič drugega. Vabim te,
da se popolnoma sprostiš, da se ozreš okrog
sebe in za festival izbereš svoje delo, ki ni
umetnost. RĄR”A4 SJD4P•D@Ň Ądű(§ ďęč±
Ř“G űšfÝů z0x¬˙Ă ™oĘ` 5 Ř
H$ ‚AjŹ”Ş3d ZBIqý 8ŇWHYţŇß¬Ů Ś tKˇ_ńg
´Ą˙ pÇęŻ— ž^Çš ´źw ey€©× ś˙…Ă {ˇ\wě„ Łźhµ
h÷ýŞ38ŕ 4(â‰yD @úD®ÜÓŽŢ}”…óDm˙ Ali
kot je rekel Joško Bohunsky: “a=tF² – umetnost (a) dobimo, če čas (t) pomnožimo
s kvadratom sile (F).” YĎă ]. B ÍT6¨S Hh…
og“mS~ÍÖÎ¸ŐZ“ ŔťŢ¦Ř7 aŔ ”€Ł ÚKîýŚ‚ óíŃ
-- ?Ą.±{ răö”±D6á=ˇ Ă×Öď7Aą CŰś˙K ŰË&ó;
žčK Ô2 ˜¬¦ˆ°•÷˜ CT N ö´HU ĂÎ cŽ ńű…a Q
˜¬¦ˆ°•÷˜ QŕA3F= ]iá† â.Ůs_p!VSf|r0 ě E
ó÷·Vľ;ń < ˜¬¦ˆ°•÷˜ q T~ň3Ű…üTs Ínű·?Ş
©aKŠ1ŰĄkĚmąĎ;·? Ž Ź J,6 Naj na tem mestu
citiram Johna Cagea: “Nimam ničesar za
povedati in to tudi povem.” íş9č ĆW„oő lĘ
pŽ3 # hŹ+¬r-ţ-AµÖ Mńú # Ő6 ˜¬¦ˆ°•÷˜ ’
ŚścŐ€ Ĺ¦5Qe‘ď ť*â@ť†v Őý vŮ ĺ ęJó]s ±1Śu
@yŤ. MRQÓ›6 ę4_u vB´ lŰ6áH‡ { Š¬râ ´
Qłë ©űiŇšpý–—`s§ !“9“Ř ‡łRˇ˘OÚy™9ľŻ
bčwˆ ă- -pń÷b ƒ´ŽŇ oP“Őč„ ‰Lţ9ż- M¸Čˇ,
3 ő¦YĎRCö˜ îě[Ł¦ľ ´f˝ Éƒ+4 ›Ť! Ŕ‚cX Âčś•v
©L˛ƒ˘GôŔ †”Ď8B É‡ ’ž©rB >ş°‡ jY%™ÎŘ` Ali
kot pravi Andy Warhol: “Nimam nobenega
posebnega sporočila. Želim si, da bi ga imel.
Bilo bi čudovito, če bi ga imel.” Je pa mogoče
zagotovo reči, da je post-akceleracionizem že
5
pri Guattariju dobil obrise radikalne politične
umetnosti. lăß űW §7ŞŘË caŔbýVťŘ ż‘„ # d%
AK RP3Q C 3K, T´S Ó0T CL SăËD3‰ (¨Ş*iHM
Řŕ+vf?1™=QŮý Ě§5‚ ‘Äí ˜¬¦ˆ°•÷˜ ‰ëľ ś ňŮ
ß˘VJfg‡!} ˛_ 2“9(ĄK! % yńNą vg ×áäěČ éżOX
N ¬™ů¨ }‘” šŮ¨ óánńxăĹŢoƒ®( ‚ Ó Oů‹Łk c ą¦(
qT°€qWc 3 # p
Obiskovalci festivala naj si naredijo svojo
umetnost sami, naj ne pričakujejo, da jo
bomo za njih delali, izbirali in urejali mi, ti in
jaz. Kdo pa smo mi, umetniki in kuratorji, da
bomo izdelovali in prikazovali umetnost za
nekoga drugega? ĺż^®,}…¨Ťô¤ “żľx”Úż ˆ¤>Łň
őXÜ c9c}ÁŃ…ĆÓ.Ź~XJk )átž‚&,ĺß <<Üş§UˆtĹ}
*¨móuĘ oíŁ;‹ Ů32ĎµA ·Měç^ ˜¬¦ˆ°•÷˜ ż“
3 Ü÷ů(8×Sł·¬ Y+ # ĽĘ> ¨mű8°@ ‰%ó5ŃĹ v
krutem neoliberalnem kontekstu poznega
kapitalizma XoňOźŔ y˙Môu ®^Dxrő áĂgwý
l¬au%}‰Ě: ˙ ßČ˜ HGPŇŃ—Dď×Ď ĎdJ› }
‘Ń@ Bu_čôuK ŘăĂó ×ŠŇ(xş µ“ŐŞČ:ƒb \[Ž
Umetnost je lepa, ampak zahteva preveč
dela. Delo pa je, kot pravi Marx, bolezen, je
rekel Stilinović. Saj vendar dobro vemo, da
so filozofi svet do sedaj samo interpretirali,
gre pa za to, da ga spremenimo. Živimo sredi
post-internetne umetnosti, uživamo, zato
smo eeÁĆƒ‡w2ŕ ~_DúˆÇŢVd °©4ĆÚm §KPVTÉ AŚ’2ś2± ĆT‚\a. ÝîƒÝ ßxôEŕ # Ó“ĂŢSĂ Žž9ó
dYęŐ danes pa je svet spodoben, uradniki
so počesani, ministri so lepi in otroci se med
fotografiranjem ne pačijo. F?©Ö4› –Y±™Âéł
Aü”ű -- é´{ emsó|}Ť4ť űfÖY †‡tŕ mŰµ – ź©Xr
ôw“´sŘî # î ˜¬¦ˆ°•÷˜ ‡Ó‹ăHŰ˝tn ňtë+O # a
TvÇĄ ż,ľ}ř[” Č< ľn Sem para-kurator. Kot paravojaške enote: pretvarjajo se, da so vojska, v
resnici pa so navadna zasebna milica. Perica
reže raci rep. ˛O) w Á€$¤†’Ę” †\ÂĎÎ ‰óŤăVQ
|>Ěë GXĺŐ ·j lč~[ď ňBÚl źň¨ ¨ŽÝ®ěw -- ƒó ů
U>n E ÔÎ ô ř !ÉŇ¤“Čk Mh0 b5”~őµŘ ‡i;Í’ e‚l
ô°č # A”a c§L ;_|hb•IÖq:II Q¨l˙G 4ÔöŘň“S
J=Ň5 Ô§”~ó ÍëK÷<˘˙Ă -- ·“©[š*^˛ Ă©‹ĂÓ F”çql
‘ úŚ5 Ć Ě~3 -- Q wŘů z$ÂC Á Naredi mi torej
to umetnost spet sproščeno, spet politič-
6
no. Hočem svoj pisoar nazaj! 9¬k-™Ď›Ú-’
_=¸3‘“w8 ` ˙ę Çb” 8ÜÍPť×7E© 4 éÉR Z‚V
Ypĺ†™“hI+ŕŃ Hˇ ˜¬¦ˆ°•÷˜ ¤’N É< Ą ú *µ
¬ˆ©–OÖ”FT ‰’źƒ ˆHüř }Ŕw ů˘‘ě}` ˜¬¦ˆ°•÷˜
“3DüĄŰ€V…Z $Q) Za trenutek poglej na
drugo stran. Kaj je na drugi strani? Je druga,
neumetniška stran, temna stran umetnosti?
Ali je svetla stran (življenja)? Kako izgleda,
zveni in deluje neumetnost? ]ÂÇĹ ˆś $x| < ™
˜¬¦ˆ° Ť*Ţë ˜¬¦ˆ°•÷˜ r˝uďw N ÝŰ7 Â„ öuGUw
˜¬¦ ˆ°•÷˜ ű€ éŻ!ˇ” ˇY)3 ]™q- ë®ç…´Éş îW ™÷ß
ľ›čiwB ˜¬¦ˆ°•÷˜ # ŤNW Vé <$ • ˜¬¦ ˆ°•÷˜
ĎmsĚiŰkĘŻyëg‘ 5t×ß:űč° ěönúř >¦°ťŕ Ż—· űgÝ
” š @€ € „3˜&BiLÔň’”Ó@ h Kaj je umetnost?
Zaščitna ograja na rampi za dostop invalidov
do razstavišča mora biti visoka najmanj 30
cm. Kaj ni umetnost? Kje pa so tukaj partizani? Ni na Goriškem več nobenih partizanov?
Kaj je neumetnost? Kdo ni Rose Sélavy? Je?
Ni?
Ť6dnµ yź]Ž uôŤ -ŻNE \± Ë 9Ť}Ű č>†zž úŁř G6
-- ”ˇŹ ‰ 5Ď 9?:’E·xý # -- ) \^Ł×ĺ(‡ Bq }r V&3é
– ü # “w+űe7 Ö®“ Vizije so nevarne. Ta hip ne
potrebujemo nobene vizije. Vse, kar potrebujemo, sta mir in počitek, pomaga pa tudi
odsotnost umetnosti, pomena in smisla. Šele
takrat lahko zares praznujemo. y“ËăĺăTA©
A¨ŽŇ‚i LY `B ż ™{d ]îŠ’( !äßŰă mńl›Y9 Űí¬í3
a5Tƒ @TËIM o ŽUf čT> 3 ^ˆ=–Ěv ŮQ E˘¸…t0 Ë
î„ÎŹŤŹ Qy Ş{,žX×TU ÜwŢńgűÍ-…]ƒ !)+˜¬¦ˆ°•÷˜
YągŃ ]Ý_´p+ŚÖ -- 5 śZšőXßÇ ˆň>KqĚé˙ Ü‡ŻŻŞ
ĘÇŐč,| ©‘ ü,ź± 9“1Áµ y(m$ tÉ’ ĚÂM ©Ç
u˛č¨z }´s÷ Že Oton Župančič je pel o resetiranju, o ponovnem zagonu računalnika: “Bodočnost je vera, kdor zanjo umira, se vzdigne
v življenje, ko pade v smrt.” A operacijski
sistem in lepota nista dovolj.
Še toliko stvari bi ti rad povedal, pa ne
znam, nekaterih ne smem, spet drugih
nočem. HłE¤g ďÂăc 6Ě9‘ÇÂzŕŢbîďDh Hvala
za tvoje potrpljenje, ŕ&4Ć{\Ě ŽrąÖr_®B
Q}®yq ±Ãă éç¸j[s strogo zares ë˘S‘˛sö|ďśsí
uý˜‰î!ó°>‘’ĹĎ ňř)Ťk‹zoă ©¬ă!™ Ś× >ĆC
!8•µŰ Takšen naj bo letošnji Pixxelpoint,
ki §é’éĹůSęé3 v‹ä in ga zato ÜqźŻ t¬z·x7
samo pogojno. Nekaj pogrebnega je v te
umetnosti. H dA P‹° •÷½ãrùµ Uí ¼ =îÇÉè
é§ s™Ý ´Ë5¢º¥ Û•¯ ìïu pÀ ‚ Øw }vÝr”ån÷ ¼
ÓÛÛ ¯7ª5g4 0õÝc%ž › { zM” ¬¦ °•÷ žl” v:i* p
4®Ú Ws›VêÖ ‘F ”M ½ï{Ó¸s ëÁ äzç} z¯sS§Nù
Œñª%z=t{ Festival pa je praznovanje, je veselje do življenja. Z Deleuzeovimi besedami:
“Make Love, Not Art.”
A ł ƒb Łoˆů)ři€ é`]Xoay“c- `Ä0Ű”‘: ‘ ˜¬¦ˆ°•÷˜
Ik‚Ý˜ŕÄŘřQRc Ad9·UB–e&: ˜¬¦ˆ°•÷˜
-- Č¬–b”Zy: ˛b z’[ V• · m $o ˆ”3Ž q±łc Wnr
$m™$Ö Txrs˜~ kĂ’Í7Ő× Č á‘lÖř× ŠŘŁc l I i4›é\
ĆT“WżÔ+®ęĄÎ ‘f ťX; † \g Zato te neskončno
ljubim. 10 Ęˆ‘ :Šä Ó `5H
Tvoj Xs Ds3Q”I¤
Igor Štromajer
kurator l ˜¬¦ˆ°•÷˜ festivala Pixxelpoint 2014
from: !gor Štromajer
to:
artists
date: Fri, Jun 13, 2014 at 10:45 AM
subject: Invitation – Pixxelpoint 2014
öix°ß.ě’Í7Ő× NON-ART
Dear artist!
ˆBzh91 AY&SY’˙K8 _ ˜¬¦ˆ°•÷˜ ˙˙˙ţ˙˙˙˙˙˙˙˙˙˙˙˙˙ ń›
ěµ Î?ýa” 7Ĺčdˆ …÷Ő÷É ¸ H @HQR =ç U9^ “Ŕ
€ 0”Ń{gśp ĺ^ ˜¬¦ˆ°•÷˜ ůŰr uH7Ó“ íZŕ ú >ú 3
w’)ľű=6h znMÇ }áč H$>ůî6‚ eÇ There are 10
types of people: those who can read binary
and those who can’t. űť Ôxú ”@)@.Ŕ ° “Ęś
úy>YV… }Ě˝€ Ůô 3 -- ún( R©O ”ë*P*Š ‚B T”
˜¬¦ˆ°•÷˜ †-X R ˜¬¦ˆ°•÷˜ This is not binary.
This is not art. What is not art? This is not
art. 4¦8ô1Dŕ I Z¨ş°ŐtÎ Ŕ2 v4 P ĄIJ *ŠTě Í°Bą¦
A Š“C čÔ% ŞR [.Öńn „ % ˜ RI” HE Ą6Ĺ+GqŽ°
˜¬¦ˆ°•÷˜ b•
×›lëśßwp^ Ů ßc ×Ö÷©÷ Ăč 36Ő€P íŐ¦§]s[)
m}=ăk{›u ˜¬¦ˆ°•÷˜ é–ŁnŘß 3 {ˇóĺö 3 Žw´ů
t{Ĺź4 ˇ@ č3˘€H) P]e †´B Ćťë®I ďw Në “DîŮ Î2P
€ Ă@ˇˇ’Š¨îˇ+[ŔĆ 0 ŽŞ …_© To paraphrase
Hardt and Negri: the aim of this year’s festival is to showcase the best selection of nonartistic works of media artists. 2ô†YC HâA3
ů -- ‰R!h ¨––‚)”˘!i ĆÓI KXµ …\d äPŔt©’¤6Â‘
Kď ń˛ ‚ I \l ”Q,Ať „ ňÉBÜÍ%TD IQNŔ –¦”bbC
Repetition is constantly changing and transcending artistic and political anxiety üś Ô$M
Ö=ě ŢĘS÷…O‚ ^cFoŃŚ îpPÄ I@Rb bĂHh X™b
4¤i$”dw The cream of the crop of media art,
the most sought-after electronic and electric
artists, and standing next to them as equals
are art students Ű ž$ .‰˘ ăóy LJSAT QI 7Ž
–j(“ Contemporary media art is colorful,
empty, free and recklessly tense.
”ŞŔ¤‚JbĄ ©¸—^m &’‚ŠŞ˘‚bh© ˆš
!¦Ş„©šˇZ(˜¦IH¨” ™” ‚š B˜J `˘¨ €™J˜Ň:JH¨bZ;
¦ ‰ŞJ ‰´hiZ)Á°” PSţÔşż˛a<™ĺÄ ! BL±@ HJJX
# JDFź ?Ł66Š8CĄˆŠ ™”(J ˜ š %¦d(vt4É Ő ‘ w`
7
% % ’Ä„EC 2 ˛G The most radical artistic piece
an artist can create, program or showcase
today is that which the artist actually has
in fact not made or done. This means that
instead of creating art, the artist deliberately chooses not to do so, letting it remain
a prisoner of its potential, even abandoning
it. This year’s festival thus showcases the
most beautiful and radical examples of this
so-called abandoned art. N€)Zhˆ”- &I†(‘’
ŕŽĹU !T¤AJGŮLš ((˘€† ¨ ës¤ ” ”%âHŠJ©Ć JŇ±)
AA E QIDŐ 5HPE M UYcMLŐC $IDÄB DÓM Q
EE That which I as the curator of this year’s
Pixxelpoint festival look for in the artist is
the absence of art. That is all. I invite you to
relax, look around and select a non-artistic
piece to be presented at the festival. RĄR”A4
SJD4P•D@Ň Ądű(§ ďęč± Ř“G űšfÝů z0x¬˙Ă
™oĘ` 5 Ř
H$ ‚AjŹ”Ş3d ZBIqý 8ŇWHYţŇß¬Ů Ś tKˇ_ńg
´Ą˙ pÇęŻ— ž^Çš ´źw ey€©× ś˙…Ă {ˇ\wě„
Łźhµ h÷ýŞ38ŕ 4(â‰yD @úD®ÜÓŽŢ}”…óDm˙
In the words of Joško Bohunsky: “a=tF² – to
find the art (a), you multiply the time (t)
by the square of the force (F).” YĎă ]. B
ÍT6¨S Hh…og“mS~ÍÖÎ¸ŐZ“ ŔťŢ¦Ř7 aŔ ”€Ł
ÚKîýŚ‚ óíŃ -- ?Ą.±{ răö”±D6á=ˇ Ă×Öď7Aą
CŰś˙ ˜¬¦ˆ°•÷˜ QŕA3F= ]iá† â.Ůs_p!VSf|r0
ě E ó÷·Vľ;ń < ˜¬¦ˆ°•÷˜ q T~ň3Ű…üTs Ínű·?Ş
©aKŠ1ŰĄkĚmąĎ;·? Ž Ź J,6 At this point, let
me quote John Cage: “I have nothing to
say and I am saying it.” íş9č ĆW„oő lĘ pŽ3
# hŹ+¬r-ţ-AµÖ Mńú # Ő6 ˜¬¦ˆ°•÷˜ ’ ŚścŐ€
Ĺ¦5Śu @yŤ. MRQÓ›6 ę4_u vB´ lŰ6áH‡ {
Š¬râ ´ Qłë ©űiŇšpý–—`s§ !“9“Ř ‡łRˇ˘OÚywˆ
ă- -pń÷b ƒ´ŽŇ oP“Őč„ ‰Lţ9ż- M¸Čˇ, 3
ő¦YĎRCö˜ îě[Ł¦ľ ´f˝ Éƒ+4 ›Ť! Ŕ‚cX Âčś•v
©L˛ƒ˘GôŔ †”Ď8B É‡ ’ž©rB >ş°‡ jY%™ÎŘ` Or
as Andy Warhol puts it: “I have no special
message. I wish I did. It would be great if I
had one.” We can say with certainty, however, that post-accelerationism got the first
outlines of radical political art, starting from
8
Guattari. lăß űW §7ŞŘË caŔbýVťŘ ż‘„ # d%
AK RP3Q C 3K, T´S Ó0T CL SăËD3‰ (¨Ş*iHM
Řŕ+vëľ ś ňŮ ß˘VJfg‡!} ˛_ 2“9(ĄK! % yńNą vg
×áäěČ éżOX N ¬™ů¨ }‘” šŮ¨ óánńxăĹŢoƒ®( ‚ Ó
Oů‹Łk c ą¦( qT°€qWc 3 # p
Visitors of the festival should make their own
art. They should not expect us, me or you,
to make, select and arrange it for them. At
the end of the day, who are we, the artists
and curators, to produce and showcase art
on behalf of someone else? ĺż^®,}…¨Ťô¤
“żľx”Úż ˆ¤>Łň őXÜ c9c}ÁŃ…ĆÓ.Ź~XJk )
átž‚&,ĺß <<Üş§UˆtĹ} *¨móuĘ oíŁ;‹ Ů32ĎµA
·Měç^ ˜¬¦ˆ°•÷˜ ż“ 3 Ü÷ů(8×Sł·¬ Y+ # ĽĘ>
¨mű8°@ ‰%ó5ŃĹ in the cruel neoliberal
context of late capitalism XoňOźŔ y˙Môu
®^Dxrő áĂgwý l¬au%}‰Ě: ˙ ßČ˜ HGPŇŃ—
Dď×Ď ĎdJ› } ‘Ń@ Bu_čôuK ŘăĂó ×ŠŇ(xş
µ“ŐŞČ:ƒb \[Ž Art is beautiful, but takes too
much work – and work, according to Marx, is
disease, as Stilinović once said. We are well
aware that philosophers have so far done
little else but interpret the world around
us – and the point is to change it. We live in
a time of post-internet art, we enjoy, that is
why we are eeÁĆƒ‡w2ŕ ~_DúˆÇŢVd °©4ĆÚm
§KPVTÉ AŚ’2ś2± ĆT‚\a. ÝîƒÝ ßxôEŕ # Ó“ĂŢSĂ
Žž9ó dYęŐ today the world is proper, the
bureaucrats are well-kempt, the ministers
are handsome and the children do not make
faces when having their photographs taken.
F?©Ö4› –Y±™Âéł
Aü”ű -- é´{ emsó|}Ť4ť űfÖY †‡tŕ mŰµ – ź©Xr
ôw“´sŘî # î ˜¬¦ˆ°•÷˜ ‡Ó‹ăHŰ˝tn ňtë+O # a
TvÇĄ ż,ľ}ř[” Č< ľn I am a para-curator. Like
the paramilitary: they pretend to be an army,
when in fact they are little more than a private militia. A man, a plan, a canal: Panama.
˛O) w Á€$¤†’Ę” †\ÂĎÎ ‰óŤăVQ |>Ěë GXĺŐ
·j lč~[ď ňBÚl źň¨ ¨ŽÝ®ěw -- ƒó ů U>n E ÔÎ ô
ř !ÉŇ¤“Čk Mh0 b5”~őµŘ ‡i;Í’ e‚l ô°č # A”a
c§L ;_|hb•IÖq:II Q¨l˙G 4ÔöŘň“S J=Ň5 Ô§”~ó
ÍëK÷<˘˙Ă -- ·“©[š*^˛ Ă©‹ĂÓ F”çql ‘ úŚ5 Ć
Ě~3 -- Q wŘů z$ÂC Á So I ask you this: make
art relaxed and political once again. I want
my fountain back! 9¬k-™Ď›Ú-’ _=¸3‘“w8 ` ˙ę
Çb” 8ÜÍPť×7E© 4 éÉR Z‚V Ypĺ†™“hI+ŕŃ Hˇ
˜¬¦ˆ°•÷˜ ¤’N É< Ą ú *µ ¬ˆ©–OÖ”FT ‰’źƒ
ˆHüř }Ŕw ů˘‘ě}` ˜¬¦ˆ°•÷˜ “3DüĄŰ€V…Z $Q)
Look on the other side for a moment. What is
on the other side? Is it the other, non-artistic
side, the dark side of art? Or is it the bright
side (of life)? How does non-art look, sound
and act? ]ÂÇĹ ˆś $x| < ™ ˜¬¦ˆ° Ť*Ţë ˜¬¦ˆ°•÷˜
r˝uďw N ÝŰ7 Â„ öuGUw ˜¬¦ ˆ°•÷˜ ű€ éŻ!ˇ”
ˇY)3 ]™q- ë®ç…´Éş îW ™÷ß ľ›čiwB ˜¬¦ˆ°•÷˜
# ŤNW Vé <$ • ˜¬¦ ˆ°•÷˜ ĎmsĚiŰkĘŻyëg‘
5t×ß:űč° ěönúř >¦°ťŕ Ż—· űgÝ ” š @€ €
„3˜&BiLÔň’”Ó@ h What is art? The protective fence on the wheelchair ramp must be at
least 30 cm in height. What is not art? And
where are the partisans in all of this? Are
there none left in the Goriška region? What is
non-art? Who is not Rose Sélavy? Is it? Isn’t
it?
Ť6dnµ yź]Ž uôŤ -ŻNE \± Ë 9Ť}Ű č>†zž úŁř G6
-- ”ˇŹ ‰ 5Ď 9?:’E·xý # -- ) \^Ł×ĺ(‡ Bq }r V&3é
– ü # “w+űe7 Ö®“ Visions are dangerous. At
the moment we have no need for vision. All
we need is peace and quiet, and the absence
of art, sense and meaning helps. It is only
then that we can truly celebrate. y“ËăĺăTA©
A¨ŽŇ‚i LY `B ż ™{d ]îŠ’( !äßŰă mńl›Y9 Űí¬í3
a5Tƒ @TËIM o ŽUf čT> 3 ^ˆ=–Ěv ŮQ E˘¸…t0 Ë
î„ÎŹŤŹ Qy Ş{,žX×TU ÜwŢńgűÍ-…]ƒ !)+˜¬¦ˆ°•÷˜
YągŃ ]Ý_´p+ŚÖ -- 5 śZšőXßÇ ˆň>KqĚé˙ Ü‡ŻŻŞ
ĘÇŐč,| ©‘ ü,ź± 9“1Áµ y(m$ tÉ’ ĚÂM ©Ç
u˛č¨z }´s÷ Even the Slovenian poet Oton
Župančič once wrote a song about the reset,
the rebooting of the computer: “The future
is a faith, he who dies in its name ascends to
life as he falls to his death.” But an operating
system and beauty alone are not enough.
fuse to. HłE¤g ďÂăc 6Ě9‘ÇÂzŕŢbîďDh Thanks
for your patience, ŕ&4Ć{\Ě ŽrąÖr_®B Q}®yq
±Ãă éç¸j[s strictly honestly ë˘S‘˛sö|ďśsí
uý˜‰î!ó°>‘’ĹĎ ňř)Ťk‹zoă ©¬ă!™ Ś× >ĆC
!8•µŰ This is what this year’s Pixxelpoint is to
be, §é’éĹůSęé3 v‹ä and for this reason ÜqźŻ
t¬z·x7 only conditionally. There is a dourness to this art. H dA P‹° •÷½ãrùµ Uí ¼ =îÇÉè
é§ s™Ý ´Ë5¢º¥ Û•¯ ìïu pÀ ‚ Øw }vÝr”ån÷ ¼
ÓÛÛ ¯7ª5g4 0õÝc%ž › { zM” ¬¦ °•÷ žl” v:i*
p 4®Ú Ws›VêÖ ‘F ”M ½ï{Ó¸s ëÁ äzç} z¯sS§Nù
Œñª%z=t{ And yet a festival is a happy event,
expressing a joy for life. In the words of Deleuze: “Make Love, Not Art.”
A ł ƒb Łoˆů)ři€ é`]Xoay“c- `Ä0Ű”‘: ‘ ˜¬¦ˆ°•÷˜
Ik‚Ý˜ŕÄŘřQRc Ad9·UB–e&: ˜¬¦ˆ°•÷˜ -Č¬–b”Zy: ˛b z’[ V• · m $o ˆ”3Ž q±łc Wnr
$m™$Ö Txrs˜~ kĂ’Í7Ő× Č á‘lÖř× ŠŘŁc l I i4›é\
ĆT“WżÔ+®ęĄÎ ‘f ťX; † \g And that is why I
love you endlessly. 10 Ęˆ‘ :Šä Ó `5H
Yours, Xs Ds3Q”I¤
Igor Štromajer
Curator l ˜¬¦ˆ°•÷˜ of Pixxelpoint 2014
There is so much I still want to say to you,
but I don’t know how. Some things I am not
allowed to say, and some things I simply re-
9
Andrej Tišma
Andrej Tišma
digitalni print
Srbija, 2014
Digital Print
Serbia, 2014
Sprehod po Novem
Sadu z Googlom
10
Google walk
through Novi Sad
S pomočjo Google Maps vas bom popeljal na
nekatera mesta v Novem Sadu, ki mi veliko
pomenijo.
With the help of Google maps I take you on
an excursion to see some places in Novi Sad
that hold a special place in my heart.
Andrej Tišma
Andrej Tišma
Andrej Tišma je umetnik, kritik in kustos iz
Novega Sada. Že od zgodnjih sedemdesetih
let se ukvarja s konkretno poezijo, mail-artom, fotografijo, fotokopijami, v osemdesetih
pa se je začel ukvarjati tudi s performansom
in videoumetnostjo. Samostojno razstavlja že
od leta 1972, predstavil pa se je že v Novem
Sadu, Beogradu, New Yorku, Milanu, Seulu,
Münchnu, San Franciscu, Londonu, Budimpešti, Tokiju in Bremnu. Od leta 1996 naprej
Tišma ustvarja tudi na področju digitalne
grafike in spletne umetnosti, leta 2003 pa je
začel ustvarjati tudi digitalno glasbo. Umetnostne kritike in eseje objavlja od leta 1976.
htpp://www.atisma.com
Andrej Tišma is an artist, art critic and
curator based in Novi Sad, Serbia. From the
early ‘70s he was concerned with concrete
poetry, mail-art, photography, Xerox, and
since ‘80s with performance art and video.
He has had solo exhibitions beginning in
1972 in Novi Sad, Belgrade, New York, Milan, Seoul, Munich, Naples, San Francisco,
London, Budapest, Tokyo and Bremen. Since
1996 Tišma has been working in the field
of digital graphics and web-art, and since
2003 in the field of digital music. He has
been publishing art critiques and essays
since 1976.
htpp://www.atisma.com
Taja Košir Popovič, Gašper
Mali, Miha Oven, Marco Pelos
Spaniol, Žan Anthony Setnikar,
Anne Elisabeth Tassel (in njihovi
gostje)
Taja Košir Popovič, Gašper
Mali, Miha Oven, Marco Pelos
Spaniol, Žan Anthony Setnikar,
Anne Elisabeth Tassel (and
guests)
pogovori in neformalna izmenjava idej,
misli, viber
- večdnevna video raziskava, simpozij
Slovenija, Italija, 2014
Discussions and informal exchange of ideas,
thoughts, vibes
- multi-day video research, symposium
Slovenia, Italy, 2014
Študentje prvega letnika smo bili izzvani, da
sprožimo pogovore o umetnosti (neumetnosti?) danes, med študenti, študenti umetno-
As first-year students we were challenged to
initiate discussions about art (non-art?) today, with students, art students, people from
Izmenjava
(ideje, misli, vibre ...)
Exchange (Ideas,
Thoughts, Vibes ...)
11
sti, mimoidočimi, ki jih srečujemo na ulici,
našimi profesorji, starši, prijatelji, neznanci.
Izziv smo sprejeli in raziskujemo. Okrogle
mize se nam zdijo preveč zadrgnjene, želimo
si izmenjave idej, misli in viber, kar bomo skušali izvesti v neformalnem srečanju v okviru
festivala.
the street, our professors, parents, friends
and strangers. We accepted the challenge and
are now doing research. We find round-table
discussions to be too formalistic, we want to
engage in an exchange of ideas, thoughts and
vibes, which we intend to do in an informal
setting in the context of the festival.
O avtorjih:
About the authors:
Študentje prvega letnika programa Digitalne
umetnosti in prakse na Visoki šoli za umetnost Univerze v Novi Gorici smo majhna skupina posameznikov iz vseh vetrov, smo tudi
najmlajši člani VŠU. Sodelovanje na simpoziju
je odprto tudi za druge, ki bodo morda skozi
proces raziskovanja postali soavtorji.
As first-year students of the study program of
Digital Art and Practice at the School of Arts
at the University of Nova Gorica, we decided
to form a small group of individuals from all
walks of life, and we are also the youngest
members of the School of Arts. The symposium is open to outsiders, who may become
co-authors in the process of the research.
Annie Abrahams
Annie Abrahams
Francija, izdelano po naročilu
FRACLR leta 2002
France, Commissioned by the
FRACLR in 2002
Je suis une oeuvre d'art
: oui, non, peut être Ali sem jaz umetniško
delo? Da, ne, mogoče.
Delo “Je suis une oeuvre d'art : oui, non,
peut être - Ali sem jaz umetniško delo? Da,
ne, mogoče.” je nastalo po naročilu FRACLR
leta 2007 in je dostopno na njihovi spletni
strani od leta 2007. To delo zbira odzive obiskovalcev, spletno mesto pa se obarva glede
na njihov naslov IP. S tem delo opozarja, da
obiskovalec nikakor ni anonimen – tega se
leta 2002 mnogi niso zavedali. Pomemben
poudarek je tudi, da je delo prevpraševalo
razmerje med spletno umetnostjo in svetom
12
Je suis une oeuvre d'art
: oui, non, peut être Am I an artwork? Yes,
no, maybe.
“Je suis une oeuvre d'art : oui, non, peut
être - Am I an artwork? Yes, no, maybe.” was
commissioned by the FRACLR in 2002 and
active on their website till 2007. The piece
collected visitor reactions and traced them by
IP to influence the colors of the page layout.
This was a way to point to the fact that the
visitor wasn't anonymous, something a lot
of people weren't aware of in 2002. More
importantly, the piece questioned the relation between netart and the art world on the
13
umetnosti na spletnem mestu uradne umetniške ustanove.
Dva plakata s citati iz dela “Je suis une oeuvre
d'art : oui, non, peut être”, ki je bilo objavljeno leta 2006 v okviru uprizoritve/predavanja/
spopada taistih citatov na razstavi “Chauffe
Marcel!” v organizaciji FRAC Languedoc
Roussillon v La Panacée, Montpellier.
Spletni arhiv dela “Ali sem jaz umetniško
delo? Da, ne, mogoče.” v obliki, kakor je od
leta 2007 objavljeno na spletnem mestu
FRACLR. (http://www.fraclr.org/archives/
abrahams/iamanartwork.htm)
website of an official art institution.
Two poster with a collection of phrases
from “Je suis une oeuvre d'art : oui, non,
peut être” published in 2006 during a
performance/lecture/battle of the same
phrases in the exhibition “Chauffe Marcel!”
organized by FRAC Languedoc Roussillon in
La Panacée, Montpellier.
Website archive of “Am I an artwork? Yes,
no, maybe.” as it exists since 2007 on the
website of the FRACLR. (http://www.fraclr.
org/archives/abrahams/iamanartwork.
htm)
Annie Abrahams
Annie Abrahams
Annie Abrahams (http://www.bram.org)
ima doktorat (M2) iz biologije pri Univerzi v
Utrechtu in naziv MA2 Akademije za likovno umetnost v Arnhemu. Pri svojem delu
uporablja video, performans in internet,
prevprašuje možnosti in omejitve komunikacije nasploh, še posebej pa jo zanimajo načini
komunikacije v smislu omrežij. Umetnica je
dosegla svetovno prepoznavnost po svoji
spletni umetnosti in je mednarodno priznana
pionirka performativne spletne umetnosti.
Annie Abrahams (http://www.bram.org)
has a doctoral degree (M2) in biology from
the University of Utrecht and a MA2 from
the Academy of Fine Arts of Arnhem. In her
work, using video, performance as well as
the internet, she questions the possibilities
and the limits of communication in general
and more specifically investigates its modes
under networked conditions. She is known
worldwide for her net art and collective
writing experiments and is an internationally regarded pioneer of networked performance art.
S svojimi deli in performansi se je predstavila v Franciji, med drugim tudi v umetniških
ustanovah Jeu de Paume in Centre Pompidou
v Parizu, pa tudi v mnogih mednarodnih galerijah kot so Black Mountain College Museum
+ Arts Center v ameriškem mestu Asheville;
španski Espai d’Art Contemporani de Castelló; New Museum, New York; armenski Center
za sodobno in eksperimentalno umetnost,
Erevan; londonska galerija Furtherfield; in
amsterdamski NIMk.
14
She has performed and shown work
extensively in France, including at Jeu de
Paume and the Centre Pompidou in Paris,
and in many international galleries such
as the Black Mountain College Museum +
Arts Center in Asheville, USA, Espai d’Art
Contemporani de Castelló, Spain; the New
Musem, New York; the Armenian Center for
Contemporary Experimental Art, Yerevan;
Furtherfield gallery in London and NIMk in
Amsterdam.
Aphra Tesla Operating System
Incorporated / Neven M.
Agalma
Aphra Tesla Operating System
Incorporated / Neven M.
Agalma
Huxterltronics-NoiseVoice
Slovenija, 2014
Huxterltronics-NoiseVoice
Slovenia, 2014
DexeoeahoexterlesterlesterleHuxDexAA
DexeoeahoexterlesterlesterleHuxDexAA
15
...HuxDexAA je zvočno-performativna entiteta, topologija vozla – glasu in zvoka. Na
eni strani glas kot neoprijemljiv in akuzmatičen, ki mu ne najdemo izvora, glas, ki ga
ne moremo vmestiti, niti na stran jezika,
niti na stran telesa. Na drugi strani zvok,
kot prasket, šum, zareza v zvočnem, ki je
neobvladljiv, nepredvidljiv in prihaja iz neorganskih oblik materialnosti. /...HuxDexAA/.
Sonornost, ki prihaja z dveh koncev in na/
iz‑zvočuje svojo prezenco preko 'organskosti' glasu in neorganskosti tehničnega
artefakta. To, kar se proizvaja kot glas in
zvok, kljub svoji vpetosti v materialni nosilec, 'ponavzoča' objekt-glas, ki je pripet na
materialnost, s katero nikoli ne sovpade do
konca. Sonornost tako obenem priklicuje
in zakriva objekt-glasu/zvoka, prikriva svojo
afoničnost. V tem polju in razcepu vznika
beseda/molk in glas/ne-zvok. ...AA
http://purplepatchexp.wix.com/huxdexaa
Aphra Tesla
Rojena v Slovenj Gradcu, po študiju slikarstva se leta 2009 na festivalu ExPonto
predstavi kot multimedijska ustvarjalka z
lastno predstavo Pa-pa ati, 2010 magistrira
iz videa in novih medijev na Akademiji za
likovno umetnost v Ljubljani. Leta 2011 na
SiNAPSA Neuroscience Conference ‘11,
Central European FENS Featured Meeting,
premierno predstavi zasnovan odprtokodni sistem, “project Aphra Tesla Operating
System”.
Kot intermedijska umetnica sodeluje z
ustvarjalci/skupinami tako iz različnih
področij umetnosti (Dave Darlington,
Cameron Bobro, Marko Churntzchetz, Ema
Kugler, Richard Heslop, Svetlana Makarovič,
Fundacija Sonda, Toni Soprano, Joži Šalej,
Matjaž Latin, Ivan Peternelj...), kot tudi
znanosti (Oddelek za Neuroznanost Ljubljana) in filozofije (Neven M. Agalma, Bojana
16
...HuxDexAA is an audio performance entity,
a topology of the knot – the voice and sound.
On the one hand, the voice as an intangible
and acousmatic entity one cannot put a finger on, a voice one can not ascribe to neither
language nor the body. On the other hand,
the sound as a crackle, noise, a gash in the
sonic realm, feral and unpredictable and produced from non-organic forms of materiality.
/...HuxDexAA/. Sonority, originating from
two sources, which im-/expresses its presence through the 'organicity' of the voice and
non-organic features of the technical artifact.
What is produced as a voice and sound, despite its strong ties to the material medium,
'summons' the object-voice – attached to the
materiality that never fully coincides with it.
Thus, sonority both brings forth and obscures
the object of the voice/sound – it disguises its
aphonic nature. It is here, in this dichotomy,
that we witness the emergence of the word/
silence and voice/non-sound. ...AA
http://purplepatchexp.wix.com/huxdexaa
Aphra Tesla
The artist was born in Slovenj Gradec. After
graduating as a painter, she presented her
work as a multi-media artist in 2009 at the
ExPonto festival with her original performance “Bye-Bye Daddy” (“Pa-pa ati”). In
2010 she obtained a master's degree in video
and new media studies at the Ljubljana Academy of Fine Arts. In 2011, she premiered her
open-source “Project Aphra Tesla Operating
System” at the SiNAPSA Neuroscience Conference '11, Central European FENS Featured
Meeting.
As an inter-media artist, she has collaborated
with other artists/collectives from various
fields of art (Dave Darlington, Cameron
Bobro, Marko Churntzchetz, Ema Kugler,
Richard Heslop, Svetlana Makarovič, Sonda
Foundation, Toni Soprano, Joži Šalej, Matjaž
Jovićević).
http://www.aphratesla.si/
https://www.facebook.com/AphraTeslaOperatingSystemIncorporated
Neven M. Agalma
Filozof, producent eksperimentalne elektronske glasbe, zvokovni manipulator, noise
raziskovalec in performer. Projekti v katerih
deluje: Dodecahedragraph, Ontervjabbit,
Cadlag, Sevenborn and Rasturen (SBAR),
Azbuka + trio projekt Ontervjabbit vs Pharmafabrik, s Simonom Šercem iz neodvisne
eksperimentalne založbe Pharmafabrik
Recordings iz Ajdovščine. Med drugim je tudi
organizator Zasavje Noisefest International
festivala (ZNFI), prvega tovrstnega festivala v
zasavski regiji, in manjših koncertov/dogodkov/performansov (Infundibulum produkcija), ki se čez leto odvijajo v Delavskem domu
Trbovlje (Nova galerija – Kurilnica).
http://znfi.org
Latin, Ivan Peternelj etc.), as well as science (Ljubljana Neuroscience Department)
and philosophy (Neven M. Agalma, Bojana
Jovićević).
http://www.aphratesla.si
https://www.facebook.com/AphraTeslaOperatingSystemIncorporated
Neven M. Agalma
Philosopher, experimental electronic music producer, audio manipulator, noise
researcher and performance artist. His
projects include: Dodecahedragraph, Ontervjabbit, Cadlag, Sevenborn and Rasturen
(SBAR), Azbuka + trio project Ontervjabbit
vs Pharmafabrik, with Simon Šerc from the
experimental label Pharmafabrik Recordings
based in the Slovenian town of Ajdovščina.
Among his other projects, he is the organizer
of the Zasavje Noisefest International Festival
(ZNFI), the first festival of its kind in the Zasavje region. He also organizes various small
concerts/events/performances (Infundibulum
Production) which take place in the Trbovlje
Union Hall (Delavski dom Trbovlje, Nova
galerija – Kurilnica).
http://znfi.org
Barbara Hindahl
Barbara Hindahl
Belgija, 2011
Belgium, 2011
DPI 2 / Tiskalnik
DPI 2 / Printer Piece
Na nek način lahko primerjate slikovne
datoteke za delo “Tiskalnik” z bobnom za
luknjičaste ljudske gosli (hurdy gurdy).
In a certain way, you must compare the image files for “Printer Pieces” to a perforated
roll of a hurdy-gurdy.
Če na ink jet tiskalnik tiskamo slikovno
datoteko, se glasba ustvarja mehansko. V
tipografskih datotekah “DPI 2” in “DPI 3”, se
If once the ink jet printer is instructed to print
the file is played mechanically. In “DPI 2” and
“DPI 3”, typographic files are printed that
17
18
19
datoteke tiskajo z znaki in ločili, ki nimajo
nobenega sintaktičnega smisla. Grafično zaporedje znakov na papirnatem robu oziroma
na sredini lista ustvarja koreografijo položaja,
gibanja in hitrosti ter ritma glave tiskalnika.
Tako se ustvarijo oblike, gostota in razporeditev črk ter črte različnih dolžin. Ti elementi
določajo melodijo in karakter tonalitete, ki jo
želimo ustvariti.
Video prikazuje glavo tiskalnika med tiskanjem. Sliši se zvok tiskalnika. Svetla in temna
območja na datoteki upravljajo gibanje in določajo položaj glave tiskalnika med tiskanjem.
Včasih glava tiskalnika skoraj negibno stoji na
mestu, nato pa se premakne vzdolž celotne
dolžine podlage. Izredno gosti predeli besedila povzročijo tresenje tiskalnika. Hitri prehodi
med svetlimi in temnimi predeli, ki nastanejo
zaradi bliskovitih premikov glave tiskalnika, ustvarijo povezano gibanje in pokažejo
drgetajoči pas glave tiskalnika, medtem ko se
ritem pospešuje. Kontrast med hitrimi premiki in lenim počitkom glave tiskalnika ustvarja
abstraktno zgodbo. Zgodba se dramatično
razvija do katarze in vodi v razplet. Gledalci
ne vedo, ali zgodbo pripoveduje film ali pa ta
mogoče nastaja v njihovih glavah.
Barbara Hindahl
Samostojne razstave (izbor)
2014 Translation Error, Kunstverein
Reutlingen (Nemčija)
Dirt Fiction, Maerz Galerie
Mannheim (Nemčija)
2013
wenn es regnet, verzieht es sich,
Kunstverein Ellwangen e.V.
2012
Standort Zeichnung, Kornhaus
Galerie, Weingarten (Nemčija)
Ben's Play Room, Super Tuesday,
20
imply letters and punctuation marks that
don't make any sense in a syntactic way. The
graphical order of the marks at the paper rim
or in the middle of the sheet choreograph the
position, the movement, the speed and the
rhythm of the print head. So in that way the
letters' shapes, denseness of their distribution and length of lines letters form. Those
elements decide the pitch and the character
of the tonal sound that is intended to come
into being.
A video shows the print head while printing.
The sound of the printer is audible.
The distribution of extremely bright or dark
concentrations in the file operates the movement and the position of the printer head
when it is printing. Sometimes, the print head
is moving nearly on one place, then it goes
over the whole width of the paper. Extremely
dense parts of the text make the printer
tremble. The fast change of bright and dark
that arises in the projection because the
print head see-saws very fast produces a
flow, showing the flittering belt of the printer
head, and rhythm is getting faster. The
contrast between quick movements and the
quiescent rest of the printer head creates an
abstract story. The story develops dramatically to a catharsis and leads into a solution.
The audition doesn't know if the story is told
in the movie or emerges in their head.
Barbara Hindahl
Solo Exhibitions (selection)
2014 Translation Error, Kunstverein
Reutlingen (D)
Dirt Fiction, Maerz Galerie
Mannheim (D)
2013
wenn es regnet, verzieht es sich,
Kunstverein Ellwangen e.V.
Nassauischer Kunstverein
Wiesbaden (Nemčija)
2011 Freiheitsliebe, Galerie Umtrieb Kiel
Analogie des Digitalen, Stadtgalerie
Saarbrücken (Nemčija)
Angel of Abstract, Q-O2 werkplaats,
Brüssel (Belgija)
2010 dpi 5, Saarländisches Künstlerhaus,
Saarbrücken (Nemčija)
2009
2005
dpi, Blinzelbar im Frappant,
Hamburg
2004
Warum gerade krumm?, Stiftung
Wilhelm Lehmbruck
Museum, Duisburg (Nemčija)
Zoll / Douane, Zollbrücken,
Hamburg (Nemčija)
2003
En passant/Brückenmusik IX,
Deutzer Brücke, Köln (Nemčija)
LOOK!, Yokohama Museum of Art
(Japonska)
Raumzeichnung, Kunstverein
Biberach (Nemčija)
1_1, Yokohama Portside Gallery,
Yokohama (Japonska)
Gostovanja (izbor):
2009–2013
2011
2009
2000
Atelierstipendium
Mannheim (Nemčija)
Q-O2 werkplaats, Brüssel
(Belgija)
Künstlerhaus Lukas,
Ahrenshoop (Nemčija)
Bildhauersymposium
Lindabrunn (Avstrija)
2012 Standort Zeichnung, Kornhaus
Galerie, Weingarten (D)
Ben's Play Room, Super Tuesday,
Nassauischer Kunstverein
Wiesbaden (D)
2011 Freiheitsliebe, Galerie Umtrieb Kiel
Analogie des Digitalen, Stadtgalerie
Saarbrücken (D)
Angel of Abstract, Q-O2 werkplaats,
Brüssel (BE)
2010 dpi 5, Saarländisches Künstlerhaus,
Saarbrücken
2009
2005
dpi, Blinzelbar im Frappant,
Hamburg (D)
2004
Warum gerade krumm?, Stiftung
Wilhelm Lehmbruck
Museum, Duisburg (D)
Zoll / Douane, Zollbrücken,
Hamburg (D)
2003
En passant/Brückenmusik IX,
Deutzer Brücke, Köln (D)
LOOK!, Yokohama Museum of Art
(JP)
Raumzeichnung, Kunstverein
Biberach (D)
1_1, Yokohama Portside Gallery,
Yokohama (JP)
Residences (selection):
2009–2013
2011
2009
2000
Atelierstipendium
Mannheim (D)
Q-O2 werkplaats,
Brüssel (BE)
Künstlerhaus Lukas,
Ahrenshoop (D)
Bildhauersymposium
Lindabrunn (AT)
21
·
' ·
'
´ ' ´
'
la question est la joie
” and love is a shortcut “
to ni neumetniški aforizem?
interneti, 2013–2014
la question est la joie _ ” in ljubezen je
bližnjica “
to delo je nastalo kot 1. aforizem/stavek, ki
sem ga skoval pred približno enim letom: to
je prvi del celotnega aforizma; 2. pogovor z
renato, ki mi je odgovorila z drugim delom; 3.
prijazno povabilo uporabnika @intima, da bi
delo predstavil na razstavi “to je neumetnost
- to ni umetnost” tukaj, v novi gorici.
ker se je vse zgodilo na twitterju, je seveda
delo v obliki strani twitter.
najprej sem želel ustvariti nekakšno mešanico #twaikusa in crastxta, potem pa sem
pomislil: to morda ni “preveč umetniško”,
vsekakor pa ni dovolj blizu smislu koncepta
“neumetnost - to ni umetnost”.
la question est la joie
” and love is a shortcut “
not·non art aphorism?
the Internets, 2013–2014
la question est la joie _ ” and love is a shortcut “
resulted as a work from 1. an aphorism/
sentence i coined more or less more than
one year ago: i.e. the first part of entire
aphorism; 2. a discussion with renata who
answered me with the second part; 3. the
kind invitation by @intima to present a work
in his “this is non art - this is not art” show
here in nova gorica.
as it all happend on twitter, obvious nature of
the work is as a twitter page.
i first hadd thought creating some special
mix of #twaikus and crastxt, by it then appeared to me, if not “too artistic”, surely
unsufficiently “non art - not art”-like
https://twitter.com/biEszisnotartno
https://twitter.com/biEszisnotartno
. bituur esztreym
. bituur esztreym
@bituur_esztreym
promeneur _ finno-magyar filolog _ perplex propaganda expert _ ποιειν _ copyleft
_achttp:vnatrc·net/ _ Ur-dogmazic·net_
¿v.n.a.t.r.c.? _ sez&works c] LAL1.3
url: vnatrc.net & finnomagyarfilolog.drunkmenworkhere.org
@bituur_esztreym
promeneur _ finno-magyar filolog _ perplex propaganda expert _ ποιειν _ copyleft
_achttp:vnatrc·net/ _ Ur-dogmazic·net_
¿v.n.a.t.r.c.? _ sez&works c] LAL1.3
url: vnatrc.net & finnomagyarfilolog.drunkmenworkhere.org
22
. Renata Avila
. Renata Avila
@avilarenata
Gvatemalska odvetnica za človekove pravice,
svetovalni odbor @Couragefound in svet @
CreativeCommons
globalvoicesonline.org/author/renata-avila/
@avilarenata
Guatemalan Human Rights Lawyer, @Couragefound Advisory Board and @CreativeCommons Board
globalvoicesonline.org/author/renata-avila/
Constant Dullaart
Constant Dullaart
privzetost
Nizozemska, Nemčija, 2011
Defaultism
Netherlands, Germany, 2011
Ime bloga/Blogname
Blogname
http://blogname.tumblr.com
http://blogname.tumblr.com
V računalništvu izraz “privzeto” pomeni
nastavitev ali vrednost, ki se samodejno
dodeli aplikaciji, računalniškemu programu
ali napravi, brez vnosa uporabnika. Takšnim
A default, in computer science, refers to a
setting or value automatically assigned to
a software application, computer program
or device, outside of user intervention. Such
23
nastavitvam pravimo privzete nastavitve,
zlasti pri elektronskih napravah. Iz slovarja
Oxford English Dictionary izvemo, da se je
začel izraz (angl. default) uporabljati sredi
šestdesetih let prejšnjega stoletja in nadomestil starejši pomen izraza, “neizpolnjevanje
obveznosti”. Namen privzetih vrednosti je
24
settings are also called presets, especially
for electronic devices. The Oxford English
Dictionary dates this usage to the mid-1960s,
as a variant of the older meaning of “failure
in performance”. Default values are generally
intended to make a device (or control) usable
“out of the box”. A common setting, or at
običajno omogočiti napravi (ali vmesniku) takojšnje delovanje “neposredno iz embalaže”.
Običajno gre za pogosto uporabljeno ali vsaj
uporabno nastavitev.
Dela Constanta Dullaarta vzpostavljajo dialog
z uveljavljenimi digitalnimi standardi oziroma
s “privzetimi vrednostmi”, ki jih ustvarja
least a usable setting, is typically assigned.
Constant Dullaart's pieces engage in dialogue
with accepted digital standards or “defaults”
created by the networked environment, highlighting the tension between digital media
as a homogenizing force and the individual's
opportunity as a media outlet. His short lived
25
omrežno okolje, pri tem pa izpostavljajo
napetosti med digitalnimi mediji kot gibalom
enotenja ter priložnostjo posameznika, da
tudi sam postane medij. Njegova kratkoživa
predstava na popularnem spletnem mestu
Tumblr je prikazovala Youtube video, ki je
prikazoval samo črno oziroma belo barvo v
minimalističnem okolju standardne vizualne podobe te spletne platforme. Podobno
kot pri njegovem delu Defaultism.com, ki je
spreminjajoča se serija “portretov” formatov
oblike spletnih strani, kjer vsebino učinkovito
nadomeščata nesmiselno besedilo, ki ga grafični in spletni oblikovalci poznajo kot “Lorem
ipsum”, ter neprekinjen hrup množice v polni
dvorani.
performance on the popular microbloging
website Tumblr consisted of posting Youtube
video's showing only white or black, in the
minimalist environment of the platforms
standard design. Similar to his work Defaultism.com, a rotating series of “portraits” of
website design formats, with any potential
content replaced by the effectively meaningless placeholder text known to graphic
and web designers as “Lorem ipsum” and
a constant stream of ambient noise from a
crowded room.
Constant Dullaart
Constant Dullaart
Opus del Constanta Dulaarta raziskuje sodobne načine dostopa, vidnosti in (lažnega)
predstavljanja dejstev, ki spremljajo globalno
širjenje informacij in komunikacijskih tehnologij. Dullaart se odziva na vprašanja o transparentnosti spleta, skritih informacijah in
večplastni infrastrukturi na spletu, pa tudi o
razlikah med človeškimi in strojnimi prevodi.
Dullaartovo delo je bilo predstavljeno v publikacijah, kot so Wall Street Journal, Guardian,
Frieze, Art-papers, Dismagazine, Monopol,
Rhizome, TAZ in Texte zur Kunst, pa tudi na
mednarodnih razstavah v ustanovah, kot
so New Museum, MassMoca in UMoca v
ZDA, Rencontres d'Arles, Autocenter Berlin,
Politehniški muzej v Moskvi in amsterdamski
muzej Stedelijk. Študij je opravil na akademijah Gerrit Rietveld in Rijksakademie, živi in
ustvarja pa v Berlinu oziroma Amsterdamu.
http://constantdullaart.com
Constant Dullaart's work explores contemporary modes of access, visibility and (mis)representation associated with the global spread
of information and communication technologies. Dullaart responds to ideas regarding
online transparency, hidden information and
the multi-tiered infrastructure of the web and
the different translations between man and
machine. Dullaart's work has been featured
in the Wall Street Journal, Guardian, Frieze,
Art-papers, Dismagazine, Monopol, Rhizome,
TAZ and Texte zur Kunst, shown internationally at venues such as the New Museum,
MassMoca and UMoca in the US, Rencontres
d'Arles, Autocenter Berlin, the Moscow Polytechnic Museum, and the Stedelijk Museum
Amsterdam. He studied at the Gerrit Rietveld
Academie and the Rijksakademie and works
and lives in Berlin and Amsterdam.
http://constantdullaart.com
26
Denis Mavrič
Denis Mavrič
interaktivna videoinstalacija
Slovenija, 2014
Interactive Video Installation
Slovenia, 2014
WHO IS THE ARTIST
ali
KDO JE KDO, JE KDO,
... JE
Kdo je tisti, ki odloča, kaj šteje k sodobni
umetnosti. Kritik, kustos, dražitelj, galerist,
zbiratelj ali javnost?
WHO IS THE ARTIST
or
WHO IS WHO, IS WHO,
... IS
Who is it that decides what is considered
contemporary art? Is it the critic, the curator,
the gallerist, the collector or the public?
27
Likovni kritik Arthur C. Danto pravi, da nas je
prav globalizem pripeljal do točke, ko umetnost ne obstaja več in je lahko za umetnost
razglašeno karkoli.
Novi mediji so zasenčili tradicionalne tehnike
kot so slikarstvo, grafika, kiparstvo, s tem pa
so umetnine prerasle meje fizičnega in se danes lahko preko zvočne in časovne razsežnosti manifestirajo tudi v virtualnem spletnem
prostoru.
Interaktivna videoinstalacija se ukvarja z
vprašanjem, kdo je avtor umetniškega dela v
sodobni umetniški produkciji. Je to financer,
so to ministrstva, fundacije, donatorji in ali
se umetnik na nek način prostituira in sledi
določenim konceptom, ki jih te institucije
narekujejo. Koliko je še ostalo svobode in
avtentičnosti v današnji umetniški produkciji?
Koliko je še ostalo časa za produkcijo, saj ga
umetnik večino porabi za birokracijo, ki je
nujna za pridobitev sredstev za produkcijo
umetniškega dela? Ali so v strokovni javnosti,
ki obdaja umetnika, kustosi in kuratorji soav-
28
Art critic Arthur C. Danto claims that globalism is responsible for bringing us to the point
where art no longer exists, and that anything
can now be declared art.
New media have upstaged traditional
techniques such as painting, graphic art and
sculpture, and so works of art have grown
beyond physical limitations and can now
be manifested in the online virtual world
through the dimensions of sound and time.
The interactive video installation explores
the question of authorship of the artistic
work in modern artistic production. Is it the
funder, ministries, foundations, sponsors, and
is the artist constantly prostituting himself
to abide by the concepts dictated by these
institutions? What is left of the freedom and
authenticity in today’s art production? How
much time is left for production, given that
the artist spends most of their time dealing
with mundane tasks of bureaucracy, which is
crucial to secure funding for the production
of the artwork? Are members of the profes-
torji umetniškega dela? Kdo je tu kdo in ali je
to danes sploh še pomembno?
Denis Mavrič
sional milieu surrounding the artist, the
custodians and curators, in fact coauthors
of the artwork? Who is who and is that even
important anymore these days?
Denis Mavrič (1974) je diplomantka likovne
akademije v Benetkah. Deluje na področju
kreativnih industrij, konceptualizaciji razstavnih prostorov in scenografije dogodkov.
Trenutno je študentka magistrskega programa “Medijske umetnosti in prakse” na Visoki
šoli za umetnost Univerze v Novi Gorici, kjer
se izobražuje na področju sodobnih umetniških praks.
Denis Mavrič
Gretta Louw
Gretta Louw
multimedijska / digitalna instalacija
Nemčija, Avstralija, 2011–2014
Multimedia / Digital Installation
Germany, Australia, 2011–2014
Prazne sobe
Eden od revolucionarnih vidikov interneta
in digitalnih omrežij je, da nam omogočajo
vseprisotnost. Tako lahko sedimo v pižami v
domačem kabinetu in hkrati spremljamo predavanja prek družbenih medijev ali prenosov
v živo prek spleta, ki se isti trenutek odvijajo
na drugem koncu sveta; morda živimo le
nekaj ur vstran od naših bližnjih, pa se z njimi
še vedno redno srečujemo preko videokonferenčnih povezav in smo kljub razdalji
neposredno udeleženi v njihovem življenju.
Skype je postal del vsakdanjika, tako doma
kot v službi. In vendar je povezava nepopolna. Omrežja lahko odpovedo. Naš sogovornik lahko zapusti računalnik in odide na
stranišče, mi pa se nato pogovarjamo z belo
steno, polno računalniških pikslov. Pričujočo
instalacijo sestavlja serija spontanih zaslonskih slik, zbranih skozi obdobje več let. Te
zaslonske slike prikazujejo trenutke v spletnih
Denis Mavrič (1974) is an alumna of the
Venice Academy of Fine Arts. She works in
creative industries, conceptualization of exhibition venues and event scenography. She is
currently enrolled in the postgraduate course
of Media Art and Practice at the School of
Arts at the University of Nova Gorica, with a
focus on contemporary artistic practices.
Empty Rooms
One revolutionary aspect of the internet and
digital networks is that they give us the ability to be omnipresent. We may be simultaneously in our pyjamas at home whilst also
following a lecture via social media or live
streams in another hemisphere; we may
live hours away from loved ones but still
meet them, virtually, via video conferencing
platforms on a regular basis and remotely
participate in many aspects of their lives.
Skype has become a fixed component of most
people's professional and personal lives. Yet
the connection is imperfect. The networks
break down. Our conversation partners leave
the computer to go to the bathroom, and we
are left communing with a pixelated white
wall. This installation is based on a series of
unstaged screenshots, collected over several
years, capturing moments in online video
calls when the person steps out of the frame.
29
video klicih, ko se oseba umakne iz kadra.
Takrat vidimo le okno, trenutek v omrežnem
času, ko se povezava ne prekine, a na drugi
strani ni nikogar. To nas opominja, da smo
še vedno omejeni s telesom. Zaznamuje nas
geografija. Strmimo v zaslon; in vendar sledi
intimnosti ostanejo.
What we see is a window, a moment in networked time where the connection remains
but there is no one to connect to, and we are
reminded that we are still corporeally bound;
rooted in geography; staring at an interface;
and yet the traces of intimacy remain.
Gretta Louw
Gretta Louw
Gretta Louw je multidisciplinarna umetnica,
ki dela pretežno z digitalnimi mediji in spletnimi performansi. V svojem ustvarjalnem
delu raziskuje zmogljivosti umetnosti kot
orodja za raziskovanje kulturnih in psiholoških pojavov, zlasti v povezavi z novimi
tehnologijami in internetom. Louwova je bila
rojena v Južni Afriki, odraščala pa je v Avstraliji. Diplomirala je leta 2001 na University of
Western Australia, leta 2002 pa je zaključila
tudi študij psihologije. Nato je živela na
Japonskem in v Novi Zelandiji in se na koncu
Gretta Louw is a multi-disciplinary artist
working predominantly with digital media
and networked performance, whose practice explores the potential of art as a means
of investigating cultural and psychological
phenomena, particularly in relation to new
technologies and the internet. Louw was
born in South Africa but grew up in Australia; she received her BA in 2001 from the
University of Western Australia and Honors
in Psychology in 2002, subsequently living
in Japan and New Zealand before moving
30
preselila v Berlin leta 2007. V zadnjih letih je
prejela finančno podporo za več projektov od
nemških in avstralskih organizacij, poleg tega
pa je bila habilitirana v Avstraliji, Izraelu in
ZDA. Njena dela so bila pogosto prikazana na
razstavah, med drugim v New Yorku, Berlinu,
Džakarti in Tel Avivu – tudi v številnih javnih
ustanovah in muzejih, kot so Kunstmuseum
Solothurn, Stadtgalerie Mannheim in Kunstverein Ludwigshafen. Leta 2012 je izdala
svojo prvo knjigo z naslovom Controlling_
Connectivity: Art, Psychology, and the Internet, ki ji je leta 2013 sledilo delo Warnayaka
Art Centre: Art in the Digital Desert, in leta
2014 je izdala svoj prvi pregledni katalog del
Works 2011–2014 / Arbeiten 2011–2014.
Živi in ustvarja v Nemčiji in Avstraliji.
to Berlin in 2007. In recent years she has
received a number of grants from German
and Australian funding bodies, participated
in residencies in Australia, Israel, and the US.
Her work has been exhibited widely - in New
York, Berlin, Jakarta, and Tel Aviv, amongst
others - including in a number of public
institutions and museums such as the Kunstmuseum Solothurn, Stadtgalerie Mannheim,
and Kunstverein Ludwigshafen. In 2012 she
released her first book, Controlling_Connectivity: Art, Psychology, and the Internet,
followed in 2013 by Warnayaka Art Centre:
Art in the Digital Desert, and in 2014 her
first catalogue Works 2011–2014 / Arbeiten
2011–2014. She lives and works in Germany
and Australia.
http://www.grettalouw.com
http://www.grettalouw.com
31
Hannes Seidl
Hannes Seidl
Ustvari si sam
Make Ur Own
(komplet za sestavljanje (Music Box Kit)
Video / Mixed Media
glasbene skrinjice)
Germany, 2014
video / mešani mediji
Nemčija, 2014
“Mehanski komplet za sestavljanje glasbene
skrinjice je čudovit način učenja in ustvarjanja glasbe. Komplet vsebuje ...
glasbeno skrinjico,
3 trakove za zapis melodije,
luknjač
... in knjižico z navodili ter vzorčni trak za
zapis melodije.”
Ta skrinjica je nastala kot rojstnodnevno
darilo, najbrž zato, ker je predstavljala izziv za
mojo iznajdljivost, da iz omejenega nabora
variacij ustvarim nekaj kreativnega.
Zaenkrat traku še vedno nisem preluknjal.
Video: Daniel Kötter
Hannes Seidl
Hannes Seidl je bil rojen leta 1977 v Nemčiji.
Študiral je skladateljstvo v Essnu in Gradcu
ter za svoje umetniško delo prejel številne
štipendije, med drugim za letne delavnice
Darmstadt, Akademie der Künste Berlin in
DAAD.
Hannes Seidl je sodeloval v nekaterih prepoznavnih umetniških skupinah, kot so Ensemble Modern, Klangforum Wien in Neuen
Vocalsolisten Stuttgart. Njegove skladbe so
izvajali po vsem svetu, med drugim na festivalih Ulstraschall v Berlinu, Ultima v Oslu,
Steirischer Herbst v Gradcu, ECLAT, Varšavska
jesen in drugod.
Leta 2002 je z Maximillianom Marcollom
ustanovil elektronski duet dis.playce, kjer
32
“The mechanical music box kit is a great way
to learn and create music. The kit includes...
a music box,
3 melody strips,
a hole punch
...along with an instruction booklet and a
premade sample music strip.”
The box has been a birthday present, I guess
in order to challenge my creativity within
these limited possibilities of variation.
So far I have not punched a single hole into
the stripes.
Video: Daniel Kötter
Hannes Seidl
Born in Bremen, Germany in 1977, Hannes
Seidl studied composition in Essen and Graz
and received various scholarships for his
work including from the Darmstadt Summer
Courses, Akademie der Künste Berlin, and the
DAAD.
Hannes Seidl has worked with well-known
ensembles such as Ensemble Modern,
Klangforum Wien or the Neuen Vocalsolisten Stuttgart. His compositions have been
performed internationally at the ultraschall
festival Berlin, ultima Oslo, Steirischer Herbst
Graz, ECLAT, Warsaw autumn and others.
Since 2002 he founded the electronic duo
dis.playce together with Maximilian Marcoll
in which they have been performing since.
Since 2008 he has been working on different projects with video artist Daniel Kötter,
33
ustvarja še danes. Od leta 2008 naprej je na
različnih projektih sodeloval z video umetnikom Danielom Kötterjem. Med drugim
je sodeloval tudi pri glasbenih gledaliških
predstavah (“Falsche Arbeit” 2008, “Falsche
Freizeit” 2010, “Freizeitspektakel” 2010,
“Fernochester” 2012 in “KREDIT” 2013),
instalacijah (“Galeriev 2010, “Treppe” 2011),
kratkih filmih (“Film für übers Sofa” 2009,
“Anschlussfilm” 2010, “Vorderbühne” 2012)
ter radijski igri “Studio” (2013).
Hannes živi in ustvarja v Frankfurtu na Majni.
including music theater (“Falsche Arbeit”
2008, “Falsche Freizeit” 2010, “Freizeitspektakel” 2010, “Fernochester” 2012 and
“KREDIT” 2013), installations (“Galerie”
2010, “Treppe” 2011), short films (“Film für
übers Sofa” 2009, “Anschlussfilm” 2010,
“Vorderbühne” 2012) as well as the radio
play “Studio”(2013).
Hannes Seidl lives in Frankfurt/Main.
http://www.stock11.de/personen/hannesseidl.html
http://www.stock11.de/personen/hannes
seidl.html
Inga Mijatović in Luka Pompe
Inga Mijatović and Luka Pompe
interaktivna instalacija
Slovenija, Italija, 2014
Interactive Installation
Slovenia, Italy, 2014
Selfie
V času, ko je tehologija dosegljiva vsakomur,
v času, v katerem se posameznik izgubi v
množici subjektov, se lahko hitro počutimo
osamljene. Naj bo umetnost tista, ki nas povezuje! In naj bo umetnost tista, ki nas loči!
V poplavi vizualnih sporočil se odločimo, kaj
bomo vzeli za svoje, kaj bo ostalo v spominu.
Najljubša podoba je zrcalo. Najraje vidimo
svoj odsev. Naredimo ga posamično in povežimo se med seboj. Glejmo sebe v virtualni
interakciji z drugimi. Najdimo se v množici.
Projekt Selfie se je začel novembra 2014.
Kdor želi, lahko do konca festivala Pixxelpoint
2014 sodeluje s svojim prispevkom tako, da
posnete selfije preko spletne strani http://
goo.gl/cKeFKd naloži v bazo podatkov, kjer jih
avtorja zbirata.
34
Selfie
In a time when technology is accessible to
anyone, in a time where the individual gets
lost in a crowd, it is easy to feel lonely. Let art
be the thread that holds us together! And let
art be the divisive force that drives us apart!
In a flood of visual imagery, we decide what
we will claim as our own and what we will
commit to memory.
Our favorite visage hides in the mirror. We
enjoy looking at our reflection. Let us each
create it and connect amongst ourselves!
Let us look at ourselves engaged in virtual
interaction with others. Let us find ourselves
in the crowd.
The Selfie project began in November 2014.
Anyone interested may make their contribution until the closing of the Pixxelpoint 2014
Zadnje tri dni festivala bodo na ogled projekcije selfijev:
– V sredo (10. december) in četrtek (11.
december) bodo selfiji javno projicirani v
Novi Gorici.
– Zadnji dan festivala, v petek (12. december), pa se bodo selfiji tudi snemali na licu
mesta in se takoj projicirali v shemo, ki jo
bomo manipulirali v živo.
festival by uploading their selfies into the
authors' database at http://goo.gl/cKeFKd.
Over the final three days of the festival,
projections of the selfies will be shown to the
audience:
– on Wednesday, (December 10) and Thursday (December 11), the selfies will be shown
to the public in Nova Gorica.
– on the final day of the festival, Friday (December 12), the selfies will also be taken on
the spot and projected into the scheme and
manipulated on the spot.
35
Inga Mijatović
Inga Mijatović
Akademska slikarka, na področju kulture
deluje od leta 2007. Njena dela se gibljejo od
kiparstva, instalacij in modnega oblikovanja,
do fotografije, sicer pa je osredotočena na
slikanje. V več skupinski razstavah in projektih deluje tudi kot kuratorka. Trenutno je
študentka magistrskega programa “Medijske
umetnosti in prakse” na Visoki šoli za umetnost Univerze v Novi Gorici, kjer se izobražuje na področju sodobnih umetniških praks.
Academic painter working in culture since
2007. Her works include sculpture, installations and fashion design, photography,
with a focus on painting. She also works as
curator on a number of group exhibitions and
projects. She is currently enrolled in the postgraduate course of Media Art and Practice at
the School of Arts at the University of Nova
Gorica, with a focus on contemporary artistic
practices.
Luka Pompe
Luka Pompe
Diplomirani inženir multimedijskih komunikacij. Že med študijem je deloval na področjih digitalnih medijev in razvoju sistemskih
rešitev za mobilne terminale. Zadnja leta pa
se posveča predvsem vizualni komunikaciji in
novim medijem. Ljubitelj makro-fotografije in
animacije. Trenutno je študent magistrskega
programa “Medijske umetnosti in prakse” na
Visoki šoli za umetnost Univerze v Novi Gorici, kjer se izobražuje na področju animacije in
novih medijev.
Bachelor of science in Multimedia Communications. Since his student years, he has
been actively engaged in digital media and
development of system solutions for mobile
terminals. His main focus in recent years has
been visual communications and new media.
He enjoys macro photography and animation. He is currently enrolled in the postgraduate course of Media Art and Practice at
practices.
Inga Mijatović
Inga Mijatović
akril na platnu, 70 x 90 cm
Slovenija, 2008
Acrylic on canvas, 70 x 90 cm
Slovenia, 2008
—
Študija prostorske percepcije, izražene skozi
linearne geometrične linije z izrazito kontrastnimi barvami, pripoved se vizualizira z igro
linij in barv in tako čas predstavi skozi prostor.
Prepletajoče se plasti intenzivnih barv,
odigrane v vlogi močnih kontrastov, širijo in
36
—
The spatial perception study expressed
through geometric lines with rich contrasting colors, the narrative is visualized through
playful interaction of lines and colors, a representation of time through space. Vivid interweaving colorful layers expressed through
37
krčijo obzorja vidnega polja, se potapljajo v
podzavest in priplavajo na površje spet kdaj
drugič, kadar smo za to dovzetni.
Inga Mijatović
Akademska slikarka, na področju kulture
deluje od leta 2007. Njena dela se gibljejo od
kiparjenja, instalacij in modnega oblikovanja,
do fotografije, sicer pa je osredotočena na
slikanje. V več skupinski razstavah in projektih deluje tudi kot kuratorka. Trenutno je
umetnosti in prakse” na Visoki šoli za umetnost Univerze v Novi Gorici, kjer se izobražuje na področju sodobnih umetniških praks.
a play of strong contrasts expand and shrink
the expanses of the visual field, sink into the
subconscious and resurface once again when
we are open to the experience.
Inga Mijatović
Academic painter working in culture since
2007. Her works include sculpture, installations and fashion design, photography,
with a focus on painting. She also works as
curator on a number of group exhibitions and
projects. She is currently enrolled in the postgraduate course of Media Art and Practice at
practices.
Intimidad Romero
Intimidad Romero
Facebook profil Intimidad Romero
(dokumentarni film)
Kolumbija, Španija, 2010–2014
Intimidad Romero’s Facebook Profile
(documentary)
Colombia, Spain, 2010–2014
Adijo, Liz
Ta dvodelna instalacija vzpostavlja dialektično
razmerje med dobo mehanske reprodukcije
in dobo digitalne reprodukcije slik.
Tako je delo Adijo, Liz rezultat dejanja prisvojitve enega najbolj ikoničnih umetniških
del prve dobe. Z manipulacijo poudarja, da
v času digitalne reprodukcije poteka proces
razkrajanja in razmeščanja pri ustvarjanju
javne podobe znanih osebnosti in zvezd. Kot
prikazuje Facebook profil Intimidad Romero,
ta proces doseže najvišjo točko z ustvarjanjem spektakla iz vsakdanjega življenja, kar
je neposredna posledica učinka digitalnih
medijev in protokola web 2.0 pri razširjanju
družabnih slik.
38
Bye Bye Liz
This two-piece installation establishes a
dialectic relationship between the age of mechanical reproduction and the age of digital
reproduction of the image.
In this way, Bye Bye Liz is the result of an act
of appropriation of one of the most emblematic artworks of the first age. Through
manipulation, it highlights that during the
age of digital reproduction a process of
dissolution and displacement takes place in
the construction of the image of celebrities
and stars. As the piece Intimidad Romero's
Facebook Profile shows, this process reaches
its highest point with the spectacularization
of everyday life as a direct consequence of
the effect produced by digital media and web
2.0 in the circulation of social images.
Intimidad Romero
Intimidad Romero
Intimidad Romero (Facebook, 2010)
http://www.facebook.com/intimidadromero
Intimidad Romero (Facebook, 2010)
http://www.facebook.com/intimidadromero
Osebnost brez obraza, ki je znana po tem, da
uporablja svoje intimne fotografije kot glavno
sredstvo družabne interakcije na protokolu
web 2.0. S spletnimi performansi Intimidad
A faceless celebrity known for using her
intimate photos as the main source for social
interaction in the web 2.0. Through her cyber
performances, Intimidad understands the
39
na medije gleda širše kot le na zbirko informacij – vidi jo kot ključno sestavino samooblikovanja identitete v sodobni družbi.
S svojim delom je pritegnila pozornost
številnih masovnih medijev, kot so El Mundo,
el País (Španija), Neural Magazine (Italija),
Rhizome.org (ZDA) in Fast Company (ZDA).
media not as a mere container but as an
essential part in the self-design of identity in
contemporary societies.
Her work has caught the attention of several mass media, such as El Mundo, el País
(Spain), Neural Magazine (Italy), Rhizome.org
(USA) o Fast Company (USA), among others.
“Intimidad je hkrati metafora in metonimija, ki predstavlja meje intervencije in
samoupravljanja identitete v družabnih
omrežjih... naših življenj na zaslonu. Tam
se lahko osvobodimo samih sebe (ali pa se
postavimo na eno stran), ko nastajajo nove
ideje in poteka proces kolektivne izgradnje
naših predstav in subjektivnosti. Intimidad se
namreč v tej izgradnji postavlja na eno stran,
razkriva odsotnost in tisto, kar je na kocki:
intimnost, ki – v zadnjem trenutku – ne želi
biti izpostavljena. Je onemogočena, nima
obraza, zamegljena, 'brezčutna' razen slik v
kontekstu, kot svetniški sij brez objekta, brez
'glavnega igralca'.” Remedios Zafra: Intimidad
R y un Cuarto Propio Conectado, 2012.
“Somehow, Intimidad is a metaphor and a
metonymy of the limits of intervention and
identity self-management in social networks… of our lives on the screen. Where we
can abandon ourselves (or, on the contrary,
take sides) in the ideation and collective
construction of our imaginaries and subjectivities. Because what Intimidad does is to
take sides in this construction, making visible
the absence and what is at stake, the intimacy that -at the very last moment- resists
to be shared; in disabled, faceless, blurred,
'emotionless' except for the context photos,
as an aura without object, 'without' maincharacter.” Remedios Zafra en: Intimidad R y
un Cuarto Propio Conectado, 2012.
40
Irena Pivka in Brane Zorman
Irena Pivka and Brane Zorman
30 sekund
Slovenija, 2014
30 seconds
Slovenia, 2014
rAdijska čestitka
Dragi kurator, drage umetnice, dragi umetniki, draga galerija, draga publika!
Na vprašanje, “Kaj je/Kaj ni umetnost?”, ki si
ga je kurator zastavil za to razstavo, ni/je tako
enostavno odgovoriti. In ni/je tako enostavno ustvariti novo ne/delo. In koliko ne/dela
vložiti v to ne/delo?
Zato vam, s to radijsko čestitko, iskreno
čestitava.
(radioCona)
Avtorja v času festivala na lokalni FM radijski
postaji naročata glasbeno čestitko, ki jo lahko
rAdio Greetings
Dear curator, dear artists, dear gallery, dear
visitors!
The answer to the question “What is/isn’t
art?” which was asked by the curator of this
exhibition, is (not) so simple. And creating
a new (non-)work is/isn’t such an easy task.
And how much (non-)work should one put
into this (non-)work?
So we would like to offer our sincere congratulations with this radio greeting.
(radioCona)
During the festival, the authors commis-
41
obiskovalci razstave spremljajo preko radijskega sprejemnika, postavljenega v galeriji.
Radio Robin, 99.5 in 100 MHz
- v nedeljo, 7. decembra 2014: med 12. in
14. uro
Irena Pivka je umetnica, arhitektka, scenografka in producentka. Dela na področju
uprizoritvenih umetnosti, novih medijev in
umetniškega izobraževanja.
Brane Zorman je skladatelj, intermedijski
umetnik in producent. Irena Pivka in Brane Zorman sodelujeta kot umetniški duo.
Ustanovila sta CONO, Zavod za procesiranje
sodobne umetnosti. Leta 2008 je Cona začela
s produkcijo trajajočega umetniškega projekta radioCona / začasni projektni radio za
sodobno umetnost, ki zaseda javno radijsko
frekvenco.
http://www.radiocona.si
sioned a radio musical greeting which visitors
can hear on the radio located in the gallery
hall.
Radio Robin, 99.5 and 100 MHz
- Sunday, 7 December 2014: between 12pm/
noon and 2pm
Irena Pivka is a Ljubljana-based artist, architect, scenographer and producer. She works
in performance and new media arts as well
as in art education.
Brane Zorman is a Ljubljana-based artist,
composer, sound-manipulator, intermedia
artist and producer. Irena Pivka and Brane
Zorman work together as an artist team.
They founded the CONA institute for processing contemporary arts. In 2008, Cona started
production of a long-term ongoing art project radioCona / Temporary Project Radio For
Contemporary Arts, which employs the space
of a public radio frequency.
http://www.radiocona.si
Jan Robert Leegte
Jan Robert Leegte
instalacija
Nizozemska, 1999
Installation
Netherlands, 1999
Drsniki (talno delo)
Postavitev Drsniki (talno delo) je kiparska
različica spletnega dela brez naslova[drsniki]
(untitled[scrollbars]), ki je nastalo leta 1997.
Že od samega začetka, ko sem začel s spletnim ustvarjanjem na platformi brskalnika,
sem to delo videl kot prostorsko platformo.
Ta dela so mi dajala vtis instalacije. Delo z
elementi uporabniškega vmesnika, kot so
okvirji in drsniki, ki so bili umeščeni v kompozicije, mi je bilo zelo podobno ustvarjanju
galerijskih instalacij. Dve leti pozneje sem
42
Scrollbars (Floor Piece)
The installation Scrollbars (Floor Piece)
was a sculptural version of the online work
untitled[scrollbars] made in 1997. As from
the very first time I started working in the
browser-based context, I regarded it as a
spatial platform. The works felt like installations. Working with user interface elements
like frame borders and scrollbars to make
compositions to me felt identical to making
gallery based installations. Two years later,
I presented the scrollbars work as a physical
delo z drsniki predstavil kot instalacijo v
fizičnem prostoru. Da bi poudaril in izrazil otipljivost tega novega digitalnega medija, sem
preprosto položil računalnik na tla in razstavil
njegove drsnike.
Jan Robert Leegte
Jan Robert Leegte v svojem umetniškem
ustvarjanju raziskuje fenomenologijo in konceptno razmišljanje digitalne snovnosti, ki je
zaznamovala prihod računalnika in interneta.
Leegte, ki ga je navduševal svet z računalniškega zaslona, je raziskoval kiparski potencial
interneta, kot je ta obstajal od leta 1997
naprej, pri tem pa je sodeloval z umetniki kot
so Peter Luining, Pavu, Jodi in Mouchette.
installation. Aiming to emphasize and communicate the apparent physicality of this new
digital material, I casually lay the computer
on the floor presenting its scrollbars.
Jan Robert Leegte
As an artist Jan Robert Leegte researches
the phenomenology and conceptual understanding of digital materiality introduced by
the arrival of the computer and the Internet.
Fascinated by the world behind the computer screen, Leegte explored the sculptural
possibilities of the Internet as from 1997,
working together with the likes of Peter Luining, Pavu, jodi and Mouchette. In 2002 he
shifted his main focus to implementing the
43
Leta 2002 je pri svojem delu kot osrednji
fokus začel uporabljati digitalne materiale
v kontekstu galerijskega prostora, pri tem
pa je želel premostiti prepad med spletno
umetnostjo in svetom galerijske umetnosti.
Raziskoval je tudi več “vgrajenih” možnosti iz
galerijskega prostora v kontekstu zunanjega
sveta; od urbanih posterjev v Aleksandriji v
Egiptu do okrasnih stropnih slikarij v Bruslju.
Pod vplivom nove generacije umetnikov
surferskega kluba, kot so Constant Dullaart
in Haarm van den Dorpel in kot član skupine
Nasty Nets je svojo pozornost znova močno
usmeril v internet. Pri tem je zanimivo, da se
je kljub umikanju post-internetnega gibanja
iz spleta v galerije sam začel tja vračati, saj ga
je začel zanimati dramatični preskok v kulturi
in tehnologijah spleta.
Njegova dela so bila razstavljena na številnih
44
digital materials in the context of the gallery
space aiming to bridge the online art with
the gallery art world. Also he explored more
“embedded” possibilities out of the gallery
space in the contexts of the outside world;
from urban postering in Alexandria, EG to
ornamenting ceilings in Brussels, BE. Influenced by the new generation of surfing club
artists like Constant Dullaart and Harm van
den Dorpel, and as member of Nasty Nets,
he strongly started refocusing on the internet
again. Interestingly, where the Post-Internet
movement started to move out of the net
to the galleries, he started to move back in
again, inspired by the dramatic shift in online
culture and technologies.
His work has been exhibited at a widespread
selection of international shows and festivals,
with a continuing central presence on the
mednarodnih razstavah in festivalih, poleg
tega pa je ves čas aktivno prisoten na spletu.
Jan Robert Leegte (1973) je študiral likovno
umetnost na rotterdamski akademiji Willema
de Kooninga v Rotterdamu po zaključku študija na Univerzi v Delftu. Je profesor internetne umetnosti na amsterdamski Akademiji Rietveld, Arnhemskem ArtEZ in haškem KABK.
Je tudi soustanovitelj raziskovalne platforme
za internetno umetnost BrowserBased. Živi
in ustvarja v Amsterdamu.
http://www.leegte.org
net. Jan Robert Leegte (1973) studied Fine
Arts at the Willem de Kooning Academy in
Rotterdam after having studied Architecture
at the University of Delft. He is professor in
Internet related art at the Rietveld Academy in Amsterdam, ArtEZ in Arnhem and
the KABK in The Hague. Also he cofounded
BrowserBased, a research platform for
Internet related art. He lives and works in
Amsterdam.
http://www.leegte.org
Janez Janša, Janez Janša,
Janez Janša
Janez Janša
http://www.janezjansa.si/credits
Slovenija, 2013 – v teku
http://www.janezjansa.si/credits
Slovenia, 2013 – ongoing
Krediti
Krediti je serija miniaturnih del avtorjev
Janeza Janše, Janeza Janše in Janeza Janše.
V delo so zajeti motivi iz njihovih del oziroma motivi, ki so s temi deli povezani in so
natisnjeni na bančnih in kreditnih karticah.
Bančne in kreditne kartice so medij zaupanja. Zaupanje je osnovno razmerje, ki vlada
celotnemu finančnemu sektorju. Ta sloni na
brezpogojnem zaupanju, tako rekoč slepi veri
– gre za svet virtualnega. Če se ta temeljni
sporazum prekrši, se lahko ves sistem sesuje.
Tudi muzej oziroma galerija je svojevrsten
prostor zaupanja. Medtem ko banke hranijo denar in ga negujejo, krepijo, posojajo
in z njim ustvarjajo novo vrednost, muzeji
enako počnejo z umetniškimi deli. V muzeju
umetniško delo ustvarja dodano vrednost.
Muzej brez umetniških del je kot banka brez
denarja. Umetniki so muzejem zaupali svoje
Credits
Credits is a series of miniature works by
Janez Janša, Janez Janša and Janez Janša. It
comprises motifs from their works, or motifs
related to them, which are printed on bank
and credit cards. Bank and credit cards are a
medium of trust. Trust is the basic relation of
the entire financial sector. It is upheld by unconditional trust, or blind faith, so to speak,
in the functioning of this virtuality. Once
the basic pact of trust is broken, the entire
system can collapse. The museum, or the gallery, is a space of trust, too, in a certain way.
While banks keep money and look after it,
fertilize it, lend it and create new values with
it, museums do pretty much the same with
artworks. In the museum, artwork acquires
added value. Museums without artworks are
like banks without money. The artists have
entrusted the museum with their debit cards
45
bančne kartice in v njihove roke položili del
svojega življenja. V seriji Krediti se tako na isti
ravni srečata dve ustanovi zaupanja: banke
ustvarjajo pogoje za proizvodnjo, izdajajo
bančne kartice in skrbijo za denar, položen
na račune teh kartic. Po drugi strani muzej
zagotavlja javnosti dostop do teh predmetov
in hkrati skrbi, da so ti celi in na varnem.
Janez Janša je konceptualni umetnik,
performer in producent. Je avtor številnih
videov, performansov, instalacij in del, ki
slonijo na novih medijih. Mnoga je predstavil
na različnih razstavah in festivalih. Režiral
je film Jaz sem Janez Janša in soustanovil
Zavod za sodobne umetnosti Aksioma, kjer
je tudi direktor. Je tudi umetniški direktor
projektnega prostora Aksioma.
http://www.aksioma.org
Janez Janša je umetnik, teoretik,
performer in režiser interdisciplinarnih
performansov, pa tudi konceptualnih in
vizualnih umetniških del. Njegova dela
imajo močno kritično in politično noto,
njihov namen pa je raziskovanje razmerja
med umetnostjo in družbenopolitičnim
kontekstom. Je tudi direktor Maske, zavoda
za založništvo, produkcijo in izobraževanje.
Janez Janša je vizualni umetnik, ki pri
svojem ustvarjalnem delu uporablja različne
tradicionalne vizualno-umetniške prakse,
konceptualno umetnost in nove medije. Leta
2003 je na 50. Beneškem bienalu zastopal
Slovenijo. Svoja dela je predstavil na bienalu
v Sao Paolu, Praškem bienalu, bienalu v
Limericku in na številnih drugih razstavah.
http://www.zigakariz.com
46
and thus handed over to the museum a part
of their lives. In the Credits series, two institutions of trust are thus put on the same level:
the banks create the conditions for production, produce debit cards and look after the
money deposited into the accounts associated with these cards, while the museum
ensures that the public has access to these
objects and, at the same time, that these
objects remain safe and intact.
Janez Janša is a conceptual artist,
performer and producer. He is the author of
numerous videos, performances, installations, and new media works which have been
presented in several exhibitions and festivals.
He is the director of the film My Name Is
Janez Janša, co-founder and director of Aksioma – Institute for Contemporary Art and
artistic director of the Aksioma Project Space.
http://www.aksioma.org
Janez Janša is an artist, theoretician,
performer and director of interdisciplinary
performances, as well as conceptual and
visual artworks. His work contains a strong
critical and political dimension and is focused
on the relationship between art and its social
and political context. He is the director of
Maska, Institute for Publishing, Production
and Education.
Janez Janša is a visual artist working
in the cross section of traditional visual art
practices, conceptual art and new media. He
represented Slovenia at 50th Venice Biennial
In 2003. He showed his work at the Sao Paolo
biennial, Prague Biennial, Limerick Biennial
and numerous other venues.
http://www.zigakariz.com
Janez Janša
Masterpiece on MasterCard
(triptih), niz Krediti,
2013 – v teku
Janez Janša
Masterpiece on MasterCard
(triptych), Credits series,
2013 – Ongoing
47
Jelena Marković
Jelena Marković
pogovor
Srbija, 2014
Conversation
Serbia, 2014
НEMAШ више
ВРЕМЕНА
Umetniško ustvarjanje ni bil namen. Delo je
rezultat pogovora na spletu.
Umetnica meni, da nima več časa. Kustos ji
ta čas daje.
48
НEMAШ више
ВРЕМЕНА
It was not the intention to create art. The
work is the result of online communications.
The artist feels she is out of time. The curator
gives her time.
Jelena Marković
Jelena Marković
Jelena Marković (1977) je zaključila študij
na Fakulteti likovnih umetnosti v Beogradu.
Leta 2008 se je vpisala na doktorski študij
Polimedijske umetnosti v Beogradu, na Interdisciplinarnih študijah Univerze za umetnost.
Trenutno je zaposlena na Akademiji likovnih
umetnosti Trebinje, Univerza vzhodnega
Sarajeva, BiH.
Jelena Marković (1977) graduated from the
Faculty of Fine Arts in Belgrade, Serbia. She
enrolled in the doctoral study program of
Polymedia Art in 2008 at the Interdisciplinary
Studies department of the Arts University in
Belgrade. She currently works at the Trebinje
Academy of Fine Arts, East Sarajevo University, Bosnia and Herzegovina.
49
Joško Bohunsky
Joško Bohunsky
post-akceleracionizem
Rusija, 2014
Post-Accelerationism
Russia, 2014
<spam>videti moram
tvoje joške.</spam>
<nospam>plz</nospam>
<spam>i need to see
your boobs.</spam>
<nospam>plz</nospam>
a=tF²
V post-akceleracionizmu se umetnost (a)
izračuna kot matematični produkt časa (t) in
sile na kvadrat (F).
a=tF²
In post-accelerationism, to find the art (a),
you multiply the time (t) by the square of the
force (F).
Joško Bohunsky
Joško Bohunsky
Joško Bohunsky (1969, Moskva, Rusija) pri
svojem umetniškem delu uporablja medijsko
umetnost, performanse, instalacije in filme. Ko
Joško Bohunsky (1969, Moscow, Russia)
creates media artworks, performances,
installations and films. By demonstrating the
50
prikazuje vseprisotnost “korporativnega sveta”,
Bohunsky z vizualnim pripovedništvom komentira različne družbenopolitične pojave. S svojimi
umetniškimi deli preiskuje koncepte, kot sta
avtentičnost in objektivnost, pri čemer se drži
enciklopedičnega pristopa in kvazi-znanstvene
natančnosti, ustvarja pa tudi dokumentarne
filme ter “izmišljeno fikcijo”. Pri svojem delu
nas prisili, da medijsko umetnost obravnavamo
kot reaktiven in včasih celo avtističen medij s
komentarjem na opresijo v sodobni družbi. S
postakceleracijskim pristopom poskuša ujeti
dinamiko med občinstvom in avtorjem, tako
da objektivizira čustva in preiskuje dualnost, ki
se razvije zaradi različnih interpretacij. Njegova
dela imajo močno politično noto. Misli oziroma
sanje o izničenju (zgodovinske ali družbene)
fiksne identitete so stalnica pri njegovih delih.
omnipresent lingering of a ‘corporate world’,
Bohunsky uses a visual vocabulary that addresses many different social and political issues. His media artworks are an investigation
of concepts such as authenticity and objectivity by using an encyclopaedic approach and
quasi-scientific precision and by referencing
documentaries and 'fact-fiction'. His work
urge us to renegotiate media art as being
part of a reactive or – at times – autistic
medium, commenting on oppressing themes
in our contemporary society. With a postaccelerational approach, he tries to increase
the dynamic between audience and author
by objectifying emotions and investigating
the duality that develops through different
interpretations. His works bear strong political references. The possibility or the dream
of the annulment of a (historically or socially)
fixed identity is a constant focal point.
Karen Eliot
Karen Eliot
ResničnaKarenEliot
(TheRealKarenEliot)
profesionalno trolanje
Internet, 2012 – v teku
“ResničnaKarenEliot” je odprt račun na družbenem omrežju Facebook. Na profilni sliki
je prikazano geslo računa, tako da se vsakdo
lahko vpiše kot Karen Eliot. Uporabniški račun
že od leta 2012 uporablja na stotine ljudi.
Nekateri samo za zabavo, drugi za oglaševanje in promocijo, tretji za politični aktivizem
in (kulturno) hekerstvo. Tako moja virtualna
osebnost postane kolektivna zavest – moje
izjave, interesi, mnenja in krog prijateljev
se mešajo s tujimi in se tako relativizirajo.
V resnici sem prijazna oseba, pametna kot
Wikipedia, zabavna kot Youtube in nadležna
kot 4chan. Pridruži se! Odpri vrata v digitalni
panoptikon in se vpiši: https://facebook.com/
therealkareneliot
TheRealKarenEliot
Professional Trolling
Internet, 2012 – ongoing
“TheRealKarenEliot” is an open account
on Facebook. The profile picture shows the
password, so everyone is invited to log in
and be Karen Eliot. Since 2012 hundreds of
people are using this account. Some for fun,
some for advertising or promotion, some for
political activism and (cultural) hacking. In
this way my virtual self becomes a collective
mind - my statements, interests, opinions and
my circle of friends are getting mixed with
those of others and therefore relativized.
Basically I'm a nice person, smart as Wikipedia, entertaining as Youtube, annoying as
4Chan. Join me! Open the gates of the digital
panopticon and log in: https://facebook.com/
therealkareneliot
51
Karen Eliot
Karen Eliot
“Ime Karen Eliot se nanaša na osebo, ki je
lahko kdor koli. Njeno ime je stalno, medtem
ko uporabniki tega imena niso. S tem, ko
številni različni ljudje uporabljajo isto ime, se
ustvari situacija, za katero ni neposredno odgovoren noben posameznik. Tako umetniško
delo prevprašuje zahodno filozofsko videnje
identitete, individualnosti, izvirnosti, vrednosti in resnice. Vsak lahko postane Karen Eliot,
ko preprosto prevzame njeno ime, vendar
pa so Karen Eliot samo tako dolgo, dokler to
ime uporabljajo. [...] Ko človek postane Karen
Eliot, so njegove pretekle izkušnje zbirka
dejanj drugih, ki so delovali v njenem imenu.
Ko človek postane Karen Eliot, nima družine,
staršev in nikoli ni bil rojen. Leta 1985 Karen
Eliot še ni bila rojena, temveč je nastal(a) iz
družbenih interakcij, ki so konstruirane kot
sredstvo za navigiranje po nestanovitnem
terenu, ki opisuje 'posameznika' in 'družbo'.”
(http://www.thing.de/projekte/7:9%23/eliot_index.html)
http://kareneliot.de
“Karen Eliot is a name that refers to an
individual human being who can be anyone.
The name is fixed, the people using it aren't.
The purpose of many different people using
the same name is to create a situation for
which no one in particular is responsible and
to practically examine western philosophical
notions of identity, individuality, originality,
value and truth. Anyone can become Karen
Eliot simply by adopting the name, but they
are only Karen Eliot for the period in which
they adopt the name. […] When one becomes
Karen Eliot one's previous existence consists
of the acts other people have undertaken
using the name. When one becomes Karen
Eliot one has non family, no parents, no birth.
In 1985 Karen Eliot was not born, s/he was
materialized from social forces, constructed
as a means of entering the shifting terrain
that circumscribes the 'individual' and 'society'.” (http://www.thing.de/projekte/7:9%23/
eliot_index.html)
http://kareneliot.de
52
Karl Heinz Jeron
Posvetujte se
z modrecem
video, 51''
Nemčija, 2014
Posvetujte se z modrecem je del sklopa Nekdo je nekaj naredil. Nato so prišli ljudje.
Video blog, v katerem nastopajo roboti, in
vsebina iz družabnih medijev.
Celoletne dnevno osvežene vsebine na portalu Youtube.
Uprizoritev.
Motorizirane lesene igrače z uporabo tako
imenovane uporabniško generirane vsebine priredijo absurdno predstavo. Projekt je
nekakšen odtok družabnih medijev.
Karl Heinz Jeron
Consult The Oracle
Video, 51''
Germany, 2014
Consult The Oracle is part of Somebody Did
Something. Then The People Came.
A video blog with robots as actors and social
media content.
One year long daily updates on Youtube.
An enactment.
Motorized wooden toys reuse so-called user
generated content for an absurd play. The
project is a tap hole of social media.
“In the night there was a big giraffe in the
room and a crumpled one: and the big one
called out because I took the crumpled one
53
“Ponoči je bila v sobi velika žirafa, poleg nje
pa še ena, zmečkana. Nato je večja zavpila,
ker sem ji vzel zmečkano. Nato je nehala
kričati: takrat sem sedel na zmečkano.”
Sigmund Freud: Analyse der Phobie eines
fünfjährigen Knaben – Kapitel 2
Okolja spletnega protokola web 2.0 omogočajo bralcem masovnih medijev, da objavljajo
svoje vsebine. Tako se oblikuje paradigma
“produporabe”, ki ima močan vpliv na družbene prakse, medije in demokratično družbo
nasploh. Te vsebine so surovina, iz katere je
nastal projekt Nekdo je nekaj naredil. Nato so
prišli ljudje.
http://jeron.org/somebody-did-somethingthen-the-people-came
54
away from it. Then it stopped calling out:
and I sat down on top of the crumpled one.”
Sigmund Freud: Analyse der Phobie eines
fünfjährigen Knaben – Kapitel 2
Web 2.0 environments allow mass media
audiences to publish their own content, creating a new paradigm of “produsage” with
significant consequences on social practices,
media and democratic society itself. This
output is the raw material for Somebody did
something. Then the people came.
http://jeron.org/somebody-did-somthingthen-the-people-came
Karl Heinz Jeron
Karl Heinz Jeron
Rojen je bil leta 1962 v nemškem mestu
Memmingen. Živi in ustvarja v Berlinu. Od
leta 2000 do 2006 je Jeron predaval multimedijsko umetnost na Univerzi umetnosti
v Berlinu. Njegova dela so bila razstavljena
v ustanovah oziroma na prireditvah, kot so
ZKM Karlsruhe, Ars Electronica Linz, Documenta X, ICA London, Walker Art Museum
Minneapolis, Berlinischen Galerie Berlin in
Museum of Modern Art v San Franciscu.
Born in 1962 in Memmingen Germany, lives
and works in Berlin. From 2000 to 2006 Jeron
have been lecturer for Multimedia Art at the
University of Arts Berlin. His works have been
exhibited at ZKM Karlsruhe, Ars Electronica
Linz, Documenta X, ICA London, Walker Art
Museum Minneapolis, Berlinischen Galerie
Berlin and the Museum of Modern Art San
Francisco.
Kitty Taylor in Fakington Wilde
Kitty Taylor and
Fakington Wilde
VOŽNJA
video in zvočna pokrajina
Avstralija, 2014
Video: Kitty Taylor
Zvok: Fakington Wilde in Kitty Taylor
Vožnja NI UMETNOST.
Vožnja je preprosto resničnost poklicnega
umetnika, ki živi v primestju, v avstralski
zvezni državi Tasmanija.
Vožnja je tisto, kar počnem vmes, medtem ko
ustvarjam UMETNOST.
Vožnja je tisti čas, ko ure in ure preživim v
samoti in razmišljam.
Vožnja je tisti čas, ko kujem načrte.
Vožnja je moj edini zasebni prostor.
Vožnja predstavlja en teden v mojem življenju.
Vožnja ni tisto, kar ljudje mislijo, da je moje
življenje.
Vožnja ni glamurozna.
Vožnja je tisto, kar počnem.
Vožnja NI UMETNOST.
DRIVE
Video & Soundscape
Australia, 2014
Video: Kitty Taylor
Sound: Fakington Wilde & Kitty Taylor
Drive is NOT ART.
Drive is the reality of being a professional
Artist in regional Tasmania.
Drive is what I do in between ART.
Drive is where I spend hours alone thinking.
Drive is where I plan.
Drive is my only private space.
Drive is one week of my life.
Drive is not what people think my life is.
Drive is not glamourous.
Drive is what I do.
Drive is NOT ART.
Filmed and produced on iPhone 5 iOS8. Drive
follows one week travelling to and from ART
engagements required of me by the Arts Organization I work for. Being an Artist seems
55
Snemanje in produkcija sta potekali z uporabo pametnega telefona iPhone 5 z operacijskim sistemom iOS8. Delo Vožnja spremlja
en teden mojega potovanja na sestanke
zaradi UMETNOSTI, ki jih moram opraviti, da
bi izpolnila svojo obveznost do umetniške
organizacije, za katero delam. Morda se to,
da sem umetnica, komu zdi glamurozno, če
bi sodili zgolj po tem, kar se odločim objaviti
na družbenih medijih. V resnici gre za ure in
ure trdega dela, ki jih opazovalec ne vidi. To
so tiste izgubljene ure vmes, ko se umetnost
ne dogaja. TO NI UMETNOST.
http://www.kittytaylor.com.au/?p=595
Kitty Taylor
Kitty Taylor živi in ustvarja na otoku Tasmanija, v avstralski zvezni državi na južnem delu
celine.
Njena najvidnejša dela so s področja digitalne fotografije in novomedijskih projekcij
na festivalih na prostem. Navdih črpa iz vse
večje odvisnosti ljudi od družbenih medijev,
internetnega vmesnika iz devetdesetih let ter
obsežnega zbiranja podatkov.
Njena dela so morda močno zaznamovana z
digitalnimi tehnologijami, vendar Kitty uporablja tudi različne analogne tehnike z dodatno
obdelavo v operacijskem sistemu iOS. Kitty še
nikoli ni uporabljala Photoshopa.
Njena dela so bila razstavljena povsod po
svetu, vendar jo v Tasmaniji zastopa galerija
Pejean, ki ima sedež v njenem domačem
mestu Launceston.
Kitty je svoja dela prenesla v različna javna
umetniška dela velikega formata, odkupili pa
so jih tudi za filmske in televizijske produkcije
ter številne družbene projekte.
http://www.kittytaylor.com.au
56
glamourous if you only see what
I choose to share on social media but the reality is long hours
and hard work. These are the
lost hours in between when the
art happens. IT IS NOT ART.
http://www.kittytaylor.com.
au/?p=595
Kitty Taylor
Kitty Taylor works and lives on
the island of Tasmania, Australia's southern state.
Most well known for her digital
photography and new media
outdoor projections in festival
environments. Her works are
inspired by our growing dependency on social media, 1990's
internet interface and Big data
collection.
Although her works have a
positively digital edge, Kitty uses
a variety of analogue techniques
coupled with additional processing on iOS. Kitty has never used
Photoshop.
Kitty's work has been exhibited around the world but in
Tasmania she is represented by
Gallery Pejean in her home city
of Launceston.
Kitty has had her work translated into large scale public art,
bought for film and television
and numerous community
based projects.
http://www.kittytaylor.com.au
57
Lavoslava Benčić
Lavoslava Benčić
elektronski tekstil
Slovenija, 2014
Electronic Textile
Slovenia, 2014
RGB Kosmatinec
Fascinira me
koliko kosmatih laži
gleda iz RGB zaslonov.
To je umetnost,
kosmata kot hudič.
RGB Hairball
It's fascinating how
many hairy lies are
staring me in the face
from the RGB screens.
This is art,
hairy as hell.
Lavoslava Benčić
Lavoslava Benčić
Lavoslava Benčić je samozaposlena ustvarjalka na področju kulture od leta 1985.
Ima bogate izkušnje s področja ideoloških
konceptov, zasnov in izvajanja medijskih projektov (celostne grafične podobe, tehnično
uredništvo in oblikovanje, fotografije, video,
multimedijski projekti, interaktivne igre,
kaligrafija in umetniške podatkovne zbirke). V
svojih člankih obravnava didaktično tehnologijo, oblikovanje knjig in interaktivni dizajn.
Pedagoško in andragoško znanje je pridobivala na Pedagoški Fakulteti, izobrazbo s
področja medijev pa na Inštitutu in akademiji za multimedije v Ljubljani. Potem, ko je
diplomirala iz vodenja medijskih projektov
na londonski Univerzi Middlesex in zaključila
podiplomski študij grafičnega oblikovanja
na kolidžu London College UCK, je trenutno
absolventka magistrskega programa “Medijske umetnosti in prakse” na Visoki šoli za
umetnost Univerze v Novi Gorici, kjer zaključuje magistrsko nalogo na področju novih
medijev. Obiskala je več kot dvajset medna-
Lavoslava Benčić is a self-employed creator
in the field of culture since 1985. She has
gained numerous experiences in ideological
concepts, designs and implementation of
media projects (corporate identities, editorial graphic design, photography, video,
multimedia, interactive games, calligraphy
and art-databases). Her articles deal with
the educational technology, book design and
interactive design.
She acquired pedagogical and andragogical
knowledge at the Faculty of Education in Ljubljana and multimedia skills at the Institute
and Academy for Multimedia in Ljubljana.
After finished BA Media Project Management
studies at Middlesex University in London
and post-graduate studies of Graphic Design
at the London College UCK. She is currently a
gap year student at the post-graduate course
Arts, University of Nova Gorica, where she is
completing her master thesis in new media.
She attended more than twenty international
58
rodnih delavnic in poletnih šol.
Njena dela so bila prikazana in razstavljena v
Avstriji, Belgiji, BiH, na Hrvaškem, v Franciji,
Nemčiji, Indiji, Italiji, na Norveškem, v PR
Kitajski, na Poljskem, v Romuniji, Srbiji, Sloveniji, na Švedskem, v Švici in Turčiji. Prejela je
3 nagrade za igre in 6 fotografskih nagrad.
workshops and summer-schools.
Her works have been exhibited and screened
in Austria, Belgium, BiH, Croatia, France, Germany, India, Italy, Norway, PR China, Poland,
Romania, Serbia, Slovenia, Sweden, Switzerland and Turkey. She received 3 game awards
and 6 photography awards.
59
Zbirka Lucille Calmel (prosim,
dovolite si poistovetenje)
Lucille Calmel's collection (please
allow yourself to identify)
zbirka
April, 2013
Collection
April, 2013
temelji na skoraj
resnični zgodbi.
60
based on an almost
true story.
Nekoč mi je osteopat v Bruslju povedal
nekakšen recept za srečo: drži se športa,
bodi odprta dotikom, ne jej sladkorja, bodi
na soncu, ohrani stik z vodo in najdi si hobi
(torej bodi kreativna zunaj službe). Nato sem
malo razmislila o nekaterih mojih zbirkah (ki
jih je pogosto najti na odru), tokratno delo pa
še ni končano in ni zaživelo z mano v igralski
zasedbi.
Once, an osteopath in Brussels told me a kind
of receipe for happiness: to play sports, to be
touched, not to eat sugar, the day light, to
be in contact with water, and to get a hobby
(meaning to be creative without working). I
thought then about some of my collections
(that often end on stage) but this one is still
quite finished and did not live with me performing with.
Lucille Calmel
Lucille Calmel
Lucille Calmel (1969, Francija) je performerka, gledališka režiserka, pisateljica in
digitalna umetnica. Živela je v francoskem
Montpellierju, od leta 2005 pa živi v Bruslju.
S performansom se ukvarja od leta 1990,
predstavila pa se je v Evropi in Združenih
državah Amerike. Kot raziskovalka in pisateljica je svoje delo prenesla z gledališkega odra
v internet. V svojih delih raziskuje performa-
Lucille Calmel (1969, France) is a performer,
stage director, writer, and digital artist. She
lived in Montpellier (France) and since 2005
in Brussels (Belgium). She practices performance art since 1990 in Europe and in the
United States. Living-writing researcher from
theater stage to the new one of the Internet,
she explores the performative dimensions
between voice, sounds, corporalities and
61
tivne dimenzije, ki so stkane iz glasu, zvokov,
teles in pisane besede.
Lucille Calmel tudi predava umetnost performansa na umetniški šoli v Avignonu in v šoli
vizualnih umetnosti La Cambre v Bruslju.
http://www.myrtilles.org/news/
http://vimeo.com/lucillecalmel
62
textualities.
Lucille Calmel is also teaching Performance
Art at the Arts School of Avignon and at the
Visual Arts School La Cambre in Brussels.
http://www.myrtilles.org/news/
http://vimeo.com/lucillecalmel
Luka Pompe
Luka Pompe
interaktivna instalacija
Slovenija, 2014
Interactive Installation
Slovenia, 2014
visuAR
Integracija dveh svetov – tehnologije in umetnosti. Še nedolgo nazaj so bili mobilni telefoni redkost, internet pa v povojih. Tehnologija,
ki jo danes nosimo v žepu, je pred dvema
desetletjema mejila na znanstveno fantastiko. V začetnih fazah spletnega mreženja je
interakcija z drugimi uporabniki in sistemi na
spletu veljala za nekaj umetnega oz. skoraj
neresničnega. Tako je nastala skovanka “IRL”
ali “In real Life”. Danes je meja med “IRL” in
virtualnim svetom zabrisana.
visuAR
A meeting of two worlds - technology and
art. Not long ago, mobile phones were a
rarity, and the internet was still in its infancy
stages. Even two decades ago, the technology we now carry in our pockets was bordering on science fiction. In the initial stages of
online networking, online interactions with
other users and systems was considered
artificial, almost unreal. So the acronym “IRL”
was born, which stands for “In Real Life”.
Today, the line between “IRL” and the virtual
world has become blurred.
63
Kaj je resnično? Ali je verjeti našim očem in
interpretaciji (vhodnih informacij) možganov?
What is real? Are we to rely on our own eyes
and the interpretation (of input information)
processed by our brains?
Projekt visuAR z uporabo tehnologije postavlja virtualni predmet v “realen” prostor oziroma resničnost nadgradi z “ne-resničnim”. S
pomočjo telefona ali tabličnega računalnika
si lahko uporabnik pričara nekaj trenutkov
nadgrajene resničnosti.
Project visuAR uses technology to place a
virtual object in “real” space, augmenting
reality with the “unreal”. Using a phone or
tablet computer, the user can conjure up a
few moments of augmented reality.
Luka Pompe
Luka Pompe
Diplomirani inženir multimedijskih komunikacij. Že med študijem je deloval na področjih digitalnih medijev in razvoju sistemskih
rešitev za mobilne terminale. Zadnja leta pa
se posveča predvsem vizualni komunikaciji
in novim medijem. Dobršen del leta 2014 je
preživel v Kanadi (Toronto), kjer je delal in se
izpopolnjeval na področju digitalnih medijev.
Trenutno je študent magistrskega programa
“Medijske umetnosti in prakse” na Visoki šoli
za umetnost, Univerza v Novi Gorici, kjer se
izobražuje na področju animacije in novih
medijev.
Bachelor of science in Multimedia Communications. Since his student years, he has
been actively engaged in digital media and
development of system solutions for mobile
terminals. His main focus in recent years has
been visual communications and new media.
He spent the better part of 2014 in Toronto,
Canada, where he worked and received
training in the field of digital media. He is
currently enrolled in the postgraduate course
Arts at the University of Nova Gorica, with a
focus on animation and new media.
64
PERFORMANS V ŽIVO
LIVE PERFORMANCE
Luka Prinčič
Luka Prinčič
hibridni avdiovizualni dogodek
Torek, 9. decembra 2014, ob 19. uri v Mestni
galeriji Nova Gorica
hybrid audio-visual event
Tuesday, 9 December 2014 at 7pm, Mestna
galerija Nova Gorica
Techno Solo Presentation Public Show
Techno Solo Presentation Public Show
65
video
Francija, 2013
Video
France, 2013
TELEPOPMUSIK “Fever”
z Betty Black (4'09'')
[remiks Tulip] (4'57'')
Andy Warhol jé hamburger X Sexy Chat
(8'55'')
TELEPOPMUSIK “Fever” z Betty Black
TELEPOPMUSIK “Fever” [remiks Tulip]
Andy Warhol jé hamburger X Sexy Chat
66
feat Betty Black (4'09'')
[Tulip Remix] (4'57'')
Andy Warhol eating a
hamburger X Sexy Chat
(8'55'')
TELEPOPMUSIK “Fever” feat Betty Black
TELEPOPMUSIK “Fever” [Tulip Remix]
Andy Warhol eating a hamburger X Sexy Chat
Michaël Borras, znan tudi kot Systaime, je
umetnik, ki pri svojem ustvarjalnem delu
uporablja multimedije in omrežja. Je ustanovitelj gibanja French Trash Touch, član
skupine “international énchantillonniste”,
pomembne mednarodne mreže alternativnih
umetnosti, digitalne umetnosti in spletne
umetnosti. Michaël Borras ustvarja na različnih mednarodnih umetniških dogodkih kot
producent, organizator, govornik in kustos.
Leta 2011 je bil pobudnik in nato ustanovitelj
Spamma, muzeja supermodernih umetnosti.
Artist of the multimedia and the networks,
Michaël Borras A.K.A Systaime is the founder
of the movement French Trash Touch, member of “the international échantillonniste”,
he is an important actor of the international
alternative artistic network, the digital art
and the art in network. Michaël Borras works
on numerous international artistic events as
producer, organizer, speaker, art curator. In
2011, he is the inspirator and founder of the
Spamm, Museum of the Super Modern Arts.
67
instalacija
Litva, Nemčija, 2013–2014
Installation
Lithuania, Germany, 2013–2014
0,30402944246776265
Postavitev 0,30402944246776265 predstavlja domišljeno družbeno omrežje, kjer računalniki nastopajo kot ljudje in omrežni kabli
predstavljajo povezave med ljudmi. V vizualni
komponenti, ki se prikazuje na računalniških
zaslonih, krogi predstavljajo aktivne osebe,
linije pa družbene aktivnosti. Kvadrat igra
vlogo samega sebe.
Računalniki poganjajo distribuirani sistem
skladiščenja podatkov Freenet, ki deluje
kot samoorganizirano omrežje, ki uporablja
dodeljeni prostor na osebnih računalnikih in
z njim ustvarja kolaborativni virtualni datotečni sistem. Poleg tega delovanje postavitve
pospešuje programska oprema, ki povezuje
omrežje Freenet z internetom. Programska
oprema samodejno nalaga informacije iz
interneta in jih objavlja na Freenetu. Tako
ustvarja zaprt sistem interakcij med raznovrstnimi objekti. Ta programska arhitektura
68
0.30402944246776265
The installation 0.30402944246776265
offers an imaginative social network where
computers represent people and network
cables represent ties connecting people.
Within the visual component brought to the
monitor screens, the bubbles represent active
people, while the lines represent social activity. The square represents itself.
The computers run the distributed data
storage system Freenet, which operates as a
self-organizing network using the allocated
free space of personal computers to create a
collaborative virtual file system. In addition,
the installation is accelerated with yet another piece of software, bridging the Freenet
network with the Internet. The software
automatically downloads information from
the Internet and uploads it on the Freenet,
closing down the system of interacting
objects of different natures. All this software
oblikuje koncept sistema umetne inteligence.
http://www.triple-double-u.
com/0.30402944246776265
Mindaugas Gapševičius (1974) je umetnik,
moderator in kustos, ki živi in ustvarja v
Berlinu in Vilni. Bil je eden izmed pobudnikov
prve litovske platforme umetnosti novih medijev na spletu, http://www.o-o.lt. Gapševičius je bil aktivni udeleženec mednarodnih
mrež umetnosti novih medijev, ki so botrovale oblikovanju omrežij med zahodnimi in
baltskimi državami ob koncu 20. stoletja.
Njegovo delo se povezuje s spletno umetnostjo, softverom in interaktivnim uporabniškim
vmesnikom. Umetnik konceptualizira preko
architecture brings the idea of an artificially
intelligent system.
http://www.triple-double-u.
com/0.30402944246776265
Mindaugas Gapševičius (1974) is an artist,
facilitator, and curator living and working
in Berlin and Vilnius. He was among the
initiators of the first Lithuanian new media
art platform on the net http://www.o-o.
lt. Gapševičius was an active participant of
the international new media art networks,
which stimulated the formation of networks
between Western countries and Baltic States
in the last decade of the 20th century. The
0,30402944246776265. Vilna, 2014. Fotografija: Evelina Kerpaitė
0.30402944246776265. Vilnius, 2014. Photo: Evelina Kerpaitė
69
0,30402944246776265. Vilna, 2014. Fotografija: Evelina Kerpaitė
0.30402944246776265. Vilnius, 2014. Photo: Evelina Kerpaitė
digitalnih informacij, analizira njihovo interno
logiko in načine uporabe. Gapševičius kaže
veliko zanimanje za futuristično tematiko in
zavzema kritično stališče do sodobnih neoliberalnih teženj.
work of Gapševičius is to be associated
with net art, software and interactive user
interface. The artist conceptualizes the flow
of digital information, analyzes its inner logic
and modes of application. Gapševičius engages deeply into futuristic themes and takes
up critical position towards contemporary
neo-liberal tendencies.
Pila Rusjan in Dejan Štefančič
Pila Rusjan and Dejan Štefančič
interaktivna vizualna postavitev
Finska, 2014
Reflection of
the Unconscious
To delo je nastalo kot vaja v programiranju
v odprtokodni platformi Arduino. Skupaj s
soavtorjem sva želela s premikanjem vode
ustvariti vzorce. Kasneje je delo postalo del
This work was made as a practice of Arduino
programming. Together with the co-author
we wanted to make various patterens by
Odsev nezavednega
70
Interactive Video Installation
Finland, 2014
71
moje raziskave, iskanja različnih oblik video
slike v času. Moj cilj je bil ustvariti neskončno
in vedno spreminjajočo se podobo v samo
stoječem objektu. Objekt je tako postal
nekakšen umivalnik, v katerem odsev vode
ustvarja vzorec na stropu. Vsebuje ultrazvočni senzor, ki skozi mikrokrmilnik sproža servo
motor. Ta tako reagira na oddaljenost uporabnika od samega objekta in s tem ustvarja
na zidovih različne vzorce.
moving water. Later this work became a part
of my exploration of various forms of video
as images in time. My goal was to produce
an endless and everchanging video as a
standalone object. The object became a sink
with reflections of water on the ceiling. It
has an ultrasonic sensor which through an
integrated microcontroller triggers a servo
motor to react on the user's distance so that
the pattern on the wall is never the same.
Pila Rusjan
Pila Rusjan
Pila Rusjan (1984) je videastka, ki deluje na
področjih likovnih, uprizoritvenih, avdiovizuelnih ter intermedijskih umetnosti. Razstavlja
v Sloveniji in tujini, umetniške rezidence
vključujejo Brazilijo, Tajvan in Kirgizijo, nominirana je bila za nagradi ESSL in OHO. Je
Pila Rusjan (1984) is a videast working in
fine arts, performance art, audio-video and
intermedia art. She has presented her work
in Slovenia and internationally, her artistic residencies include Brazil, Taiwan and
Kyrgyzstan, and has been nominated for the
72
vodja raziskovalne enote FamulVideoLab (KD
Galerija GT). Večinoma dela kot oblikovalka
scenskih videov v gledališčih. Od leta 2010
ima status samozaposlene v kulturi. Diplomirala je na Visoki šoli za umetnost Univerze v
Novi Gorici, kjer je absolventka magistrskega
programa “Medijske umetnosti in prakse”
in zaključuje študij na področju sodobnih
umetniških praks.
ESSL and OHO awards. She is the head of
the research unit FamulVideoLab (KD Gallery
GT). The majority of her work is creating
stage videos in theaters. She has worked as
a freelance artist since 2010. She is currently
finishing her MA studies in contemporary
art practices at the course of Media Art and
Practices at the School of Arts at the University of Nova Gorica.
Dejan Štefančič
Dejan Štefančič
Dejan Štefančič (1972) že več kot deset let
deluje na področjih filma in televizije kot grip
(kompozicija kamere), scenski delavec, tehnik
razsvetljave, asistent kamere. Od leta 2012
s Pilo Rusjan sodeluje na področju vizualnih umetnosti kot snemalec, mojster luči,
tehnični asistent. V tem delu prvič nastopa
kot soavtor.
Dejan Štefančič (1972) has been working
in film and TV for over a decade as a grip
(camera composition), scenographer, lighting technician and camera assistant. Since
2012 he has worked in visual arts together
with Pila Rusjan, as a camera man, lighting
technician and technical assistant. This work
marks his debut as a coauthor.
Robert Sakrowski
Robert Sakrowski
skulptura
Nemčija, 1994
Sculpture
Germany, 1994
Der Klotz
Der Klotz
Prevod: Klotz – samostalnik
klada Block, Verstopfung, Motorblock,
Häuserblock, Stein, Klotz
kepa
Klumpen, Brocken, Klotz
gruda Scholle, Klumpen, Klotz, Erde,
Batzen, Körper
zapis Log, Protokoll, Logbuch, Klotz,
Baumstamm, Aufzeichnungen
zidak Ziegel, Backstein, Ziegelstein,
Stein, Block, Klotz
hrust Rumpf, Wrack, Schiffsrumpf,
Klotz, Ruine
Translate: Klotz – noun
les, 15 x 13 x 80 cm
wood, 15 x 13 x 80 cm
block
chunk
clod
log
brick
hulk
Block, Verstopfung, Motorblock,
Häuserblock, Stein, Klotz
Klumpen, Brocken, Klotz
Scholle, Klumpen, Klotz, Erde,
Batzen, Körper
Log, Protokoll, Logbuch, Klotz,
Baumstamm, Aufzeichnungen
Ziegel, Backstein, Ziegelstein,
Stein, Block, Klotz
Rumpf, Wrack, Schiffsrumpf,
Klotz, Ruine
73
74
Robert Sakrowski
Robert Sakrowski
Robert Sakrowski je bil rojen in živi v Berlinu.
Po poklicu je umetnostni zgodovinar. V
obdobju od 1999 do 2003 je vodil projekt
netart-datenbank.org na TU Berlin, sodeloval
pa je tudi kot kustos v številnih razstavah na
področju spletne umetnosti. Med letoma
2007–2009 je bil zaposlen na Inštitutu Ludwiga Boltzmanna, kjer je delal na projektu
Media.Art.Research v Linzu. Od leta 2007
je ustvaril različne razstave, ki se ukvarjajo z
vprašanji o umetnosti in umetniških praksah
v povezavi z web 2.0; ta tematika je tudi
osrednji fokus njegovega aktualnega projekta
CuratingYouTube.net. Trenutno dela kot gostujoči kustos na festivalu transmediale 2015.
Robert Sakrowski was born in Berlin, where
he also lives. He is an art historian. From
1999 to 2003 he headed the project netartdatenbank.org at TU Berlin and curated
several exhibitions in the field of Net-based
art. In the 2007–2009 period he worked at
the Ludwig Boltzmann Institute Media.Art.
Research in Linz. Since 2007 he has created
various exhibitions dealing with questions
circling art and art practices related to the
web 2.0. These themes are also the main
focus of his current project CuratingYouTube.
net. He currently works as guest curator for
the Transmediale Festival 2015.
http://www.curatingyoutube.net
http://www.curatingyoutube.net
75
ronnie s
ronnie s
video (obdelava)
Norveška, 2013–2014
video (handling)
Norway, 2013–2014
ronnie s če bolje
pomislim... – delo z
nezanesljivimi subjekti
76
ronnie s on second
thought – dealing with
unreliable subjects
ronnie s je v drugem letniku magistrskega
študija na Bergenski akademiji ustvaril video
esej.
Ker je med študijem vztrajal, da video ni
umetniško delo, ga je šola sprejela kot esej
(prosite ronnija za izvod).
Kot zaključno delo med skupinsko razstavo
v bergenski galeriji Kunsthall je zunaj stavbe
ronnie s made a video essay during his
2nd year MA studies at the art academy in
Bergen.
Insisting during the course the video was not
an art work the school accepted the video as
an essay (ask ronnie for a copy).
As his final work during the group exhibition
in the Bergen Kunsthall he installed outside
77
postavil svoj hišni zvonec, z na roko napisanim listkom: tvoja umetnost ni za nič
ronnie s.
the premises his private doorbell with a
handwritten note: your art is not working
ronnie s.
ronnie s
ronnie s
ronnie s (Enschede 1961) –
razvijalec namena
izobrazba: AKI (1979–1984) - KHIB (2012–
2014)
živi in ustvarja v naselju Natland, Bergen,
Norveška
nagrade v letu 2014: VISP umetnik meseca aprila – etableringstipend 2014 Bergen
Kommune
nič ne ve, da bi imel spletno stran
ronnie s (Enschede 1961) –
purpose developer
education: AKI (1979–1984) - KHIB (2012–
2014)
lives and works in Natland Bergen Norway
awards 2014: VISP artist of the month April –
etableringstipend 2014 Bergen Kommune
he has no URL to think of
brez avtorja
no author
brez naslova (družinski
portret son:DA avtorice
Nataše Berk)
okvirjena fotografija kot del neumetniške
serije
Slovenija, 2012
Nekdo je nekoč napisal: “Ljubite se in ne
ustvarjajte umetnosti”. In tako je bilo. In
čez nekaj časa je nastal pričujoči fotografski
trenutek. Umetnost ni imela nič pri tem.
Samo ljubezen. In še nekaj ljudi in lesen okvir.
Mogoče.
avtor
son:DA sta dva posameznika, ki delata skupaj
od 2000. Imata dva otroka. Več se najde na
http://sonda.kibla.org. Nataša Berk je svobodna umetnica.
78
no title (son:DA's familyphoto by Nataša Berk)
Framed photography as a part of non-art-istic series
Slovenia, 2012
Somebody wrote: “Make love, not art”. And
they did. And then, after a while, this photographic moment happened. No art. Just love.
And people and a wooden frame. Maybe.
author
son:DA are two individuals working together
since 2000. They have two children. More
information at http://sonda.kibla.org. Nataša
Berk is a freelance artist.
79
PaintBot
PaintBot
(Avtor robota: Doepner) (Author of the robot:
Slika(nje)
Doepner)
Slovenija, 2014
Slika, olje na platnu, samostojne robotske
platforme PaintBot
slika(nje)
sam.
1. Postopek, umetnost ali poklic prekrivanja
površin s praktičnim ali umetniškim namenom.
2. Slika ali podoba, ustvarjena s slikarskim
postopkom.
Painting
Slovenia, 2014
Painting, oil on canvas, by the autonomous
robot platform paintBot
paint(ing)
n.
1. The process, art, or occupation of coating
surfaces with paint for a utilitarian or artistic
effect.
2. A picture or design in paint.
slika(nje)
sam.
1. (umetnost) umetnost ali postopek nanašanja barv na podlago, kot je platno, z namenom ustvarjanja slike ali druge umetniške
kompozicije.
2. (umetnost) tako ustvarjena kompozicija ali
slika.
3. dejanje nanašanja barve na podlago s
čopičem.
painting (ˈpeɪntɪŋ)
n
1. (Art Terms) the art or process of applying
paints to a surface such as canvas, to make a
picture or other artistic composition.
2. (Art Terms) a composition or picture made
in this way.
3. the act of applying paint to a surface with
a brush.
slika(nje)
sam.
1. Slika ali podoba, ustvarjena z barvami.
2. dejanje, umetnost ali poklic osebe, ki slika.
paint(ing) (ˈpeɪn tɪŋ)
n.
1. a picture or design executed in paints.
2. the act, art, or work of a person who
paints.
Slika(nje) – ustvarjanje slike z barvo; “več let
je študiral slikanje in kiparstvo.”
umetniško ustvarjanje, umetniška produkcija,
umetnost – ustvarjanje lepih oziroma znamenitih stvari; “za dobro umetnost ni potrebna
inovativnost”; Nikoli nisem bil kaj prida umetnik”; “rekel je, da je arhitektura umetnost
potratne izrabe prostora zaradi lepote”
(American Heritage® Dictionary of the
English Language, četrta izdaja, copyright
©2000 Houghton Mifflin Company. Izdaja iz
80
painting - creating a picture with paints;
“he studied painting and sculpture for many
years”
artistic creation, artistic production, art - the
creation of beautiful or significant things;
“art does not need to be innovative to be
good”; “I was never any good at art”; “he
said that architecture is the art of wasting
space beautifully”
(The American Heritage® Dictionary of the
81
leta 2009 pri založbi Houghton Mifflin. Vse
pravice pridržane.)
Stefan Doepner
DE/SI
Rojen je bil leta 1966 v Bremnu, študiral je
slikarstvo, eksperimentalni film in intermedijske umetnosti na Univerzi za umetnost v
Bremnu. Stefan Doepner ustvarja predvsem
na področju tehnološke umetnosti, robotike
in zvočne umetnosti. V svojih delih prevprašuje umetniško raziskovanje uporabe, privzemanja in zakonitosti tehnologije. Je soustanovitelj več umetniških skupin in pobud
od zgodnjih 90-ih let – Verein23, studio in
galerija SOPHIE, Media AccessBureau v Bremnu; f18, zavod za umetnost, informacije
in tehnolgijo v Hamburgu, KUD Obrat in Cirkulacija2 v Ljubljani. Leta 1992 je sodeloval
na festivalu Documenta9 s projektom Van
Gogh TV; od leta 1998 sodeluje s Stelarcom;
leta 2004 je skupaj z zavodom f18institut
razvil projekt “Playground Robotics” [Robotika za igrišče], ki je bil predstavljen v Baslu,
Bernu, Solothurnu in Ljubljani; leta 2006 je
sodeloval na Steirischer Herbst, Gradec, in
na bremenskem Smartu 2006; leta 2008 se
je predstavil na festivalu Synthetic Times:
Media Art China 2008, Peking in na linškem
Ars Electronica; leta 2009 je koproduciral
“Prototip” 11 v okviru Cirkulacija2 na festivalu MedienKunstLabor, Kunsthaus Graz.
Med letoma 2010 in 2012 je sodeloval z M.
Dusseillerjem in B. Leskovškom na projektu
NanoŠmano, odprtih delovno-raziskovalnih
projektih za raziskave materialov, oblik življenja in orodij na nano ravni, v koprodukciji z Galerijo Kapelica. Od leta 2010 do 2013
je s Cirkulacijo2 ustvaril projekt “Platforma
za totalno umetnost”.
82
English Language, Fourth Edition copyright
©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin
Company. All rights reserved.)
Stefan Doepner
DE/SI
Born 1966 in Bremen, studied Painting,
Experimental Film and Intermedia Arts at the
University of Arts Bremen.
Stefan Doepner primarily works in the filed
technologically based art, robotics and
sound. His work focuses on the artistic exploration of today's use, reception and rules of
technology.
He confounded several art groups and initiatives since the early 90s - Verein23, SOPHIE
studio gallery, the Media AccessBureau in
Bremen; f18institute for art, information
and technology in Hamburg, KUD Obrat and
Cirkulacija2 in Ljubljana. In 1992 he participated at the Documenta9 project Van Gogh
TV; since 1998 Doepner collaborates with
Stelarc; in 2004 he developed with f18institut the project “Playground Robotics”, to
be presented in Basel, Bern Solothurn and
Ljubljana; 2006 he participated at Steirischer
Herbst, Graz and at Smart 2006, Bremen;
2008 at Synthetic Times: Media Art China
2008, Beijing and at Ars Electronica, Linz;
2009 he co-realized “Prototype” 11 within
Cirkulacija2 at MedienKunstLabor, Kunsthaus
Graz. From 2010-2012 Doepner worked
together with M. Dusseiller and B. Leskovsek
on the NanoŠmano project, open research
& work processes on nano scale material,
life-forms and tools, in co-production with
Kapelica Gallery. From 2010 to 2013 he realized with Cirkulacija2 the “total art platform”
project.
83
Joule thief / Ožemalec
baterij
delavnica
Mentor: Jakob Harisch
Zasnova: Stefan Doepner in Jakob Harisch
Slovenija, 2014
Ponedeljek, 8. decembra 2014, v Mestni
galeriji Nova Gorica
Joule Thief
Workshop
Mentor: Jakob Harisch
Concept: Stefan Doepner and Jakob Harisch
Slovenia, 2014
Monday, 8 December 2014; Mestna galerija
Nova Gorica
Vas zanima, kako osvetliti LED lučko z odrabljeno in izpraznjeno baterijo? Vabljeni
na delavnico izdelave vezja joule thief, na
kateri bomo s pomočjo hekerskega postopka
in “naredi sam” principa izdelovali vezja za
izrabo odrabljenih baterij. V manufakturnem
procesu bomo reciklirali odvržene baterije in
dele starih računalnikov, diskutirali, testirali in
navsezadnje ustvarjali družbena vezja.
Would you like to know how to light up a
LED diode using an old, flat battery? You
are cordially invited to the joule thief circuit
building workshop, where you will learn to
build circuits for using up old batteries using
a hacking procedure and DIY approach. In
the course of the building process, we will
recycle discarded batteries and parts of old
computers, discuss, test and finally create
social circuits.
Učinek joule thief vezja je v tem, da iz skoraj
praznih baterij potegne potrebno elektriko za
delovanje LED luči. Običajno je za delovanje
LED luči potrebnih 3 do 3,5 voltov, vezje joule
thief pa omogoča, da lahko za delovanje LED
luči uporabimo baterije, ki so skoraj prazne
– vse tja do 0,3 V. To je meja, ko elektronske
naprave ne reagirajo več, s pomočjo joule
thief pa bomo iztisnili še zadnje baterijske
moči.
The main effect of the joule thief circuit is to
squeeze out the power required by LED diodes from nearly empty batteries. In normal
conditions, LED diodes require 3 to 3.5 volts,
and the joule thief circuit makes it possible
for us to use nearly empty batteries to power
LED diodes – as low as 0.3 V. This is the
threshold where electronic devices no longer
react, and using the joule thief, we can
squeeze out even the last remaining power.
UBERMORGEN
UBERMORGEN
članice in nečlanice EU, 2014
EU and non-EU countries, 2014
Seznam za ubijanje
Nekaj tisoč ključnih ljudi in družin nadzoruje
in upravlja z zajetnim kosom našega življenja. Ti ljudje kopičijo bogastvo v neslutenih
količinah. Temu je treba narediti konec – in
84
Killlist
There are a few thousand key people and
families controlling and manipulating large
parts of all our lives. These people are accumulating wealth in unbelievable quanti-
Seznam za ubijanje, tarča 9 (Andrew Morris Singer), 2014
Killlist Target 9 (Andrew Morris Singer), 2014
Seznam za ubijanje, tarča 56 (Yolanda Kakabadse), 2014
Killlist Target 56 (Yolanda Kakabadse), 2014
to takoj. Ciljno ubijanje je naklepno ubijanje
posameznika s strani državne organizacije
ali ustanove brez sodišča ali vojnih razmer.
To je vizualni proces, ki temelji na seznamu.
Pregledati je treba slike in življenjepise,
izvajati raziskave in pridobiti podatke, nato
pa sprejeti odločitve. “Seznam za ubijanje” je
namenjen likvidiranju oseb, ki so odgovorne
za zločine proti človeštvu, masovno uničevanje človeških življenj, lakoto, revščino, bolečino in ponižanje. S selektivnim ubijanjem se
strateško eliminira tiste, ki povzročajo težave.
Z metodo učenja na podlagi poskusov in
napak se izboljšuje učinkovitost seznama.
Delovati moramo odgovorno. Stvari moramo
vzeti v svoje roke. “Auslöschung” peščice
pomeni “Auslöschung” množice. Nevarnost
čutimo v vsaki celici svojega telesa. Pokaže
se, da nam gre sestavljanje seznamov za
ties. This has to stop now. Targeted killing is
the premeditated killing of an individual by
a state organization or institution outside
a judicial procedure or a battlefield. It is a
visual process based on a list. Images and
biographies have to be studied, research
has to be carried out, intelligence has to be
gathered and decisions have to be made. The
‘Killlist’ is specifically designed to liquidate
people responsible for crimes against humanity, for the mass destruction of human life,
for hunger, poverty, pain and humiliation.
By selective assassination, trouble-makers
are strategically taken out. A trial-and-error
method optimizes the effectiveness of the list.
We need to act responsibly. We need to take
things into our own hands. 'Auslöschung' of a
few prevents 'Auslöschung' of the many. We
feel the danger in every cell of our body. It
85
ubijanje dobro od rok. Strah je učinkovito
sredstvo. Zločinci, ki delujejo za pisalno mizo,
so strahopetci. Svoje vedenje spremenijo, če
ljudje okrog njih padajo kot muhe. To nam
preprečuje, da bi seznam širili v neskončnost,
dokler tudi sami ne pristanemo na njem.
Tako seznam zgolj izboljšujemo, ne pa tudi
širimo. Ne pozabite: to ni šala. To je protizakonito. To je tvegano. To ni svoboda izražanja
ali umetniška svoboda. Nobenega izhoda ni.
Spomine bo treba izbrisati. Človeška rasa se
mora znebiti svojega “Herkunftskomplexa”
in se začeti zavedati, da je nastopil čas za
dejanja. Stop. Gremo!
turns out, we are really good at creating kill
lists. Fear works. Desk criminals are cowardly.
They change their behavior if the people
around them are dropping like flies. This
prevents us from expanding the list infinitely
until we become part of the list ourselves. So
we refine the list, we don't expand. Keep in
mind: This is real. This is illegal. This is risk.
This is not freedom of speech or freedom
of art. There is no way out. Memories shall
be erased. Humans have to get rid of their
'Herkunftskomplex' and accept that it is time
to act. Stop. Go!
UBERMORGEN.COM
UBERMORGEN.COM
UBERMORGEN.COM je švicarsko-avstrijsko-ameriški tandem, ki je začel delovati leta
1995, njegova člana pa sta lizvlx in Hans
Bernhard. Živita in ustvarjata na Dunaju in
S-Chanfu blizu švicarskega St. Moritza. Njun
osrednji umetniški opus obsega zlasti net.art,
instalacije, video art, fotografijo, software art
in performans, zlasti pa je povsod prisotna
zmes digitalnih medijev. Pri svojih zgodnjih
delih sta se lotevala projektov hekanja
medijev s primitivnimi orodji in tako nagovorila široko občinstvo, kot na primer z enim
svojih najbolj znanih projektov, Voteauction Volitvena dražba (2000). Leta 2001 sta začela
sodelovati s Cristophom Schilngensiefom,
na razvoju in uprizoritvi Hamleta v Zürichu:
NAZI~LINE, ki je bila nekakšna glorificirana
lažna telefonska linija za pomoč neonacistom. Leta 2005 sta začela s projektom
Trilogija EKMRZ, serijo konceptualnih hekov
(GWEI – Google Will Eat Itself [Google se
bo pojedel], Amazon Noir in Zvok eBaya. V
obdobju 2007–2011 sta se lotila raziskovalnih
produkcij (Superenhanced, WOPPOW, serija
Kraft) in Rock Art produkcij, kot sta TORTURE
CLASSICS in KLIKISTAN.
UBERMORGEN.COM is a Swiss–Austrian–
American artist duo founded in 1995 and
consists of lizvlx and Hans Bernhard. They
live and work in Vienna and S-chanf near
St. Moritz in Switzerland. Their main body of
work consists of net.art, installation, video
art, photography, software art and performance and intensly uses the convergence of
digital media. Their early works were media
hacking projects using low-tech tools to
reach very large audiences like one of their
best known projects, Voteauction (2000).
In 2001, they started a collaboration with
Christoph Schlingensief for the development
and staging of a Hamlet project in Zürich:
NAZI~LINE, a bigger than life fake neo-Nazi
helpline. In 2005 they started the EKMRZ
Trilogy, a series of conceptual hacks (GWEI –
Google Will Eat Itself, Amazon Noir and The
Sound of eBay. Between 2007–2011 their
focus went into research-based productions
(Superenhanced, WOPPOW, KRAFT Series)
and Rock Art productions such as TORTURE
CLASSICS and CLICKISTAN.
86
Lavoslava Benčić
Sodelavca: Mary Galvin, John
O'Sullivan, Cork Institute of
Technology, Cork (Irska)
Ustvarjalec digitalnih
zgodb
aplikacija za mobilne naprave / poigričenje,
zgodbarstvo
Slovenija, Hrvaška, Irska, 2014
Ustvarjalec digitalnih zgodb − Izkušnja igrice
mora obiskovalce spremeniti v aktivne
udeležence. Elementi igre podpirajo zabavo/
odkrivanje/kreativnost med obiskom festivala
Pixxelpoint. Uporabniki spontano raziskujejo
svojo ustvarjalnost. Igričarska izkušnja igralce
pritegne s pomočjo pripovedništva. Njihove
zamisli lahko postanejo podlaga za prihodnje
projekte.
Vmesnik Ustvarjalca digitalnih zgodb spodbuja ustvarjalnost različnih vrst igralcev in
jim omogoča ustvarjanje zgodb, ki so tesno
povezane z vizualno vsebino projekta (fotografijami). Fotografije se zberejo z vabilom, ki
je odprto mesec dni pred začetkom aktivnosti javnega pripovedništva na festivalu.
Fotografski viri so urejeni v štiri kategorije
(Junak 1, Junak 2, Kraj, Naključno). Fotografi-
Lavoslava Benčić
Co-authors: Mary Galvin, John
O'Sullivan, Cork Institute of
Technology, Cork (Ireland)
Digital Story Creator
Gamification, Storytelling
Slovenia, Croatia, Ireland, 2014
Digital Story Creator − a gamified experience
has to transform visitors into active participants. Its elements support entertainment/
discovery/creative visit genre of the Media
Art Festival Pixxelpoint. Users spontaneously
explore their creative skills. The gamified
experience uses the power of storytelling to
engage players. Their ideas may become the
inspiration for future projects.
Digital Story Creator interface encourages
creative skills by different types of players
and allows to create stories, strongly related
to visual project content (photos). Photos
are provided by open call one month prior
the public storytelling activities at Media Art
Festival Pixxelpoint. Photographic sources are
ordered in four categories (Hero 1, Hero 2,
Location, Random). Photos will help participants, as an inspiration, to build a personalised stories. At the beginning of storytelling
87
je udeležencem pomagajo prebuditi ustvarjalni navdih za personalizirane zgodbe. Na
začetku pripovednega procesa se fotografije
v Digitalnem ustvarjalcu zgodb izberejo
naključno. V osrednji fazi igranja uporabnik
napiše zgodbo/zaplet, to pa na koncu shrani
na strežnik. Pozneje bodo zgodbe objavljene
na Facebook strani festivala Pixxelpoint.
Igričarska izkušnja trenutno deluje brez
internetne povezave na mobilnih napravah
Android.
Lavoslava Benčić
Lavoslava Benčić je samozaposlena ustvarjalka na področju kulture od leta 1985.
Ima bogate izkušnje s področja ideoloških
konceptov, zasnov in izvajanja medijskih projektov (celostne grafične podobe, tehnično
uredništvo in oblikovanje, fotografije, video,
multimedijski projekti, interaktivne igre,
kaligrafija in umetniške podatkovne zbirke). V
svojih člankih obravnava didaktično tehnologijo, oblikovanje knjig in interaktivni dizajn.
Pedagoško in andragoško znanje je pridobivala na Pedagoški Fakulteti, izobrazbo s
področja medijev pa na Inštitutu in akademiji za multimedije v Ljubljani. Potem, ko je
diplomirala iz vodenja medijskih projektov
na londonski Univerzi Middlesex in zaključila
podiplomski študij grafičnega oblikovanja
na kolidžu London College UCK, je trenutno
absolventka magistrskega programa “Medijske umetnosti in prakse” na Visoki šoli za
umetnost Univerze v Novi Gorici, kjer zaključuje magistrsko nalogo na področju novih
medijev. Obiskala je več kot dvajset mednarodnih delavnic in poletnih šol.
Njena dela so bila prikazana in razstavljena v
Avstriji, Belgiji, BiH, na Hrvaškem, v Franciji,
Nemčiji, Indiji, Italiji, na Norveškem, v PR
Kitajski, na Poljskem, v Romuniji, Srbiji, Sloveniji, na Švedskem, v Švici in Turčiji. Prejela je
3 nagrade za igre in 6 fotografskih nagrad.
88
process, photos in Digital Story Creator
interface will be selected randomly. In the
midgame stage, the user will write the narrative/plot and in endgame stage users save
their stories in the repository. Afterwards,
stories will be published on Media Art Festival Pixxelpoint Facebook page.
Gamified experience works in present stage
off-line on Android mobile devices.
Lavoslava Benčić
Lavoslava Benčić is a self-employed creator
in the field of culture since 1985. She has
gained numerous experiences in ideological
concepts, designs and implementation of
media projects (corporate identities, editorial graphic design, photography, video,
multimedia, interactive games, calligraphy
and art-databases). Her articles deal with
the educational technology, book design
and interactive design.
She acquired pedagogical and andragogical knowledge at the Faculty of Education
in Ljubljana and multimedia skills at the
Institute and Academy for Multimedia in
Ljubljana. After finished BA Media Project
Management studies at Middlesex University in London and post-graduate studies
of Graphic Design at the London College
UCK. She is currently a gap year student at
the post-graduate course of Media Art and
Practice at the School of Arts, University of
Nova Gorica, where she is completing her
master thesis in new media.
She attended more than twenty international workshops and summer-schools.
Her works have been exhibited and
screened in Austria, Belgium, BiH, Croatia,
France, Germany, India, Italy, Norway, PR
China, Poland, Romania, Serbia, Slovenia, Sweden, Switzerland and Turkey. She
received 3 game awards and 6 photography
awards.
89
Valérie Wolf Gang
Valérie Wolf Gang
eksperimentalni video, 9'
Portugalska, 2014
Experimental Video, 9'
Portugal, 2014
Nova zemlja, nov začetek
Delo “Nova zemlja, nov začetek” je študija,
ki je nastala v okviru raziskav za magistrsko
nalogo “Umetnik v tujini – vpliv zamenjave
okolja na umetniško ustvarjanje”. Multimedijska umetnica Valérie Wolf Gang raziskuje
različne aspekte umetnikovega življenja v
tujini in na različnih rezidencah, ki bogatijo
inspiracijo in umetniško ustvarjanje. Postavlja
si vprašanje kako lahko drugo okolje spreminja našo percepcijo na svet okoli sebe in
hkrati v nas samih. V ta namen se je za nekaj
mesecev preselila na Portugalsko, kjer se je
izolirala od svojega domačega prostora in se
popolnoma prepustila novemu okolju. Svoje
občutke redno dokumentira in zapisuje (tudi
na spletni platformi artist-abroad.com), prav
tako pa ustvarja zbirko video poezij, ki bodo
pokazatelj najglobljega razmišljanja o sebi in
okolju, kamor se je preselila. “Nova zemlja,
nov začetek” je študija, ki simbolično prikazuje novo rojstvo v novem kraju, z novim
zavedanjem same sebe in novim pogledom
na lastni umetniški opus.
Valérie Wolf Gang
Multimedijska umetnica Valérie Wolf Gang
(1990), je aktivna na področju videa in
sodobnih umetniških praks. V Ljubljani je
dokončala Srednjo šolo za oblikovanje in fotografijo, nato pa z nalogo “Vloga režiserja v
video instalaciji” diplomirala na Visoki šoli za
umetnost Univerze v Novi Gorici in pridobila
naziv diplomantka digitalnih umetnosti in
praks. Svoje teoretično in praktično znanje
90
New land new beginning
The work “New land new beginning” is
a study created through research for the
Master's thesis “Artist Abroad – The Effect of
Expatriation on Artistic Production”. Multimedia artist Valérie Wolf Gang explores
different aspects of the artist’s life abroad
and in involvement in various residencies,
which have an enriching effect on the inspiration and artistic production. The question is
how a foreign environment can affect our
perception of the world around us, as well
as our inner world. For that purpose, she
moved to Portugal for a few months, isolating herself from her familiar surroundings
and completely surrendering herself to a new
environment. She regularly documents and
publishes her feelings (including the online
platform artist-abroad.com), and at the same
time she is creating a collection of video poetry, which will serve as evidence of intimate
reflection on herself and her new environment. “New land new beginning” is a study
which symbolically shows the artist’s rebirth
in new surroundings, with a new identity and
perspective on her own body of work.
Valérie Wolf Gang
The work of multimedia artist Valérie Wolf
Gang (1990), focuses on video and contemporary artistic practices. She graduated from
the Ljubljana High School of Design and Photography, then obtained a bachelor's degree
from the School of Arts at the University of
Nova Gorica in digital art and practice. She
je izpopolnjevala tudi na filmski akademiji
FAMU v Pragi. Redno dela z različnimi mediji
in snuje multimedijske instalacije, ki so razstavljene v številnih galerijah, njeni videi pa
so prikazani na različnih festivalih in kinodvoranah. Ima status samostojne kulturne delavke, ki ga podeljuje Ministrstvo za kulturo
Republike Slovenije. Dejavno je vključena v
različna področja sodobne umetnosti in produkcije ter umetniške rezidence. Trenutno je
umetnosti in prakse” na Visoki šoli za
umetnost Univerze v Novi Gorici, kjer se
izobražuje na področju sodobnih umetniških
praks.
http://valeriewolfgang.com
improved her theoretical and practical knowledge at the FAMU film academy in Prague.
She regularly works with different media and
creates multimedia installations to be presented in various galeries. Her videos have
been featured at various festivals and cinema
theaters. She works as a freelancer in culture,
a status granted by the Ministry of Culture
of the Republic of Slovenia. She is actively
involved in different forms of artistic production and artistic residencies. She is currently
enrolled in the postgraduate course of Media
Art and Practice at the School of Arts at the
University of Nova Gorica, with a focus on
contemporary artistic practices.
http://valeriewolfgang.com
91
Vlado G. Repnik
Vlado G. Repnik
portret
Nemčija, 2014
Portrait
Germany, 2014
V Berlinu je Gotvan Repnik 64. dan po kuratorjevem povabilu v ponedeljek, 6. oktobra
2014 nekaj po 13. uri iz ulice Duncker vstopil
v prodajalno EICIE digitaler stoffdruck. Pol
ure kasneje je iz nje izstopil kot lastnik slike
(70 cm x 100 cm) ter z njeno razstavitvijo na
festivalu Pixelpoint postal avtor projekta, ki
transcendentira iluzije o avtorstvu, originalnosti ali unikatnosti umetnosti in osebnosti.
On Monday, 6 October 2014, sometime after
1pm, 64 days after receiving an invitation
from the curator, Gotvan Repnik stepped into
Berlin’s EICIE Digitaler Stoffdruck shop on
Duncker Street. Half an hour later, he left the
shop as the new owner of a painting (70 cm
x 100 cm) and by exhibiting the work at the
Pixxelpoint festival he became the author of
a project that transcends the illusionary notions of authorship, originality or uniqueness
of art and personality.
DIGITALER STOFFDRUCK DIGITALER STOFFDRUCK
Prižgan laptop potopite v belo akrilno
bravo. Ko ugasne njegov ekran, vas presune
žalosten trenutek. Medtem ko sveže, belo in
lepo telo stroja umira, ga z macolo in trideset
centimeterskim žebljem pribijte na zid, da se
tam počasi skupaj z vami balzamira. Ne me
quite pas. To je bilo življenje in delo nekega
laptopa. Vse ostalo je stvar interpretacije.
Mon Cheri – naredi mi to podobo zopet
digitalno! Kdor misli misel Natalije Gončarove
je Natalija Gončarova – kdor pa gleda Mlado
žensko je Petrus Christus.
Vlado G. Repnik
Vlado G. Repnik je akademski slikar, gledališki
in radijski režiser ter magister umetnosti.
Ustvarja na področju performansa, novih
medijev, uprizoritvenih in vizualnih umetnosti. V osemdesetih letih utemelji supramodernizem, sedaj kot polimedijski umetnik
deluje z vdorom realnega, manifestacijami,
vizualnimi predavanji in drugimi paradoksalnimi povezavami. Njegovo delo je redno
predstavljeno na različnih mednarodnih
festivalih in razstavah doma in v tujini.
http://www.babalan.org
92
Immerse a powered-on lap-top computer
into white acrylic paint. As the display flickers
and dies, you are overcome by a moment of
sadness. As the fresh, beautiful, brilliantly
white body of the machine is slowly sinking
to death, nail it to the wall with a 30-cm
nail to let it slowly mummify together with
you. Ne me quite pas. This was the life and
work of a laptop computer. The rest is up to
interpretation.
Mon Cheri – let this image be digital once
again! The person who thinks the thoughts
of Natalia Goncharova is, in fact, Natalia
Goncharova – and he who gazes upon the
Portrait of a Young Girl is Petrus Christus.
Vlado G. Repnik
Vlado G. Repnik is an academic painter, a
stage and radio director and a master of
arts. He works in the realm of performance
arts, new media, theater and visual arts. He
was one of the founders of supramodernism in the nineteen-eighties and is currently
working as a polymedia artist exploring the
penetration of the real,
manifestations, visual
lectures and other paradoxical linkages. His work
is regularly features at
international festivals and
exhibitions, both in Slovenia
and abroad.
http://www.babalan.org
93
Zečica Jensen
Zečica Jensen
diaprojekcija v zanki
Svetovni projekt, 2003 – v teku
Looping Slide Show
Global, 2003 – ongoing
Prizori iz življenja in potovanja Zečice Jensen
so predstavljeni v diaprojekciji.
Images from the life and travels of Zečica
Jensen are presented as a slide show.
Zečica Jensen
Zečica Jensen
Zečica Jensen je bila rojena leta 2003 v
danskem mestu Vinderup. Gre za priznano
umetnico, katere sloves daleč presega njeno
dejansko kreativno delo. Leta 2011 se je s
samostojno razstavo predstavila v Art Kliniki
v srbskem Novem Sadu. Res je, da je bila
razstava množično obiskana in da so bili prisotni tudi različni mediji, tudi televizija. Svoje
delo predstavlja tudi na internetu in z obiski
na različnih mestih po svetu. Zečica, ki svojo
umetnost opiše kot “umetnost življenja,
pogovora in romance”, je dosegla množično
prepoznavnost – kljub temu, da so jo številni
kritiki označili kot nič več kot le žurerko. V
svojih zgodnjih delih se je lotevala predvsem
medkulturnega dialoga, svetovnega miru
in harmonije, v svojih zadnjih delih pa se
je, predvsem zaradi rastoče neoliberalne
ideologije, posvetila bolj okoljevarstvenemu
in političnemu aktivizmu.
Zečica Jensen was born in Vinderup, Denmark
in 2003. She is a celebrity artist whose reputation far exceeds her actual creative output.
Her sole solo exhibition took place in 2011 at
Art Klinika in Novi Sad, Serbia. It's true that
there was a huge and adoring crowd at the
opening including television and other reporters. Aside from this she disseminates her
work via the internet and through personal
appearances at selected locations around the
world. Zečica describes her art as “the art of
life: intervention, conversation and romance”
and has garnered a large and devoted following – however many critics have dismissed her
as being merely a party animal. In her early
career she focussed on intercultural dialogue, world peace and harmony, while more
recently in response to growing imperialist
neoliberal ideology she has turned towards
environmental and political activism.
Predpomnjenje življenja Life Caching
94
95
VISOKA ŠOLA
ZA UMETNOST
Univerze v Novi Gorici
www.pixxelpoint.org

Katalog Pixxelpoint 2014

Transcription

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